Some familiar faces in here… I particularly love it when actors are nominated in a category in regards to 2 of their movies. That’s gotta hurt! Razzie Nominations:
Worst Picture Nominations
Disaster Movie & Meet the Spartans (double nominee from the same writer-directors)
The Happening
The Hottie & The Nottie
In the Name of the King: A Dungeon Siege Tale
The Love Guru
Worst Actor Nominations
Larry the Cable Guy, Witless Protection
Eddie Murphy, Meet Dave
Mike Myers, The Love Guru
Al Pacino, 88 Minutes & Righteous Kill
Mark Wahlberg, The Happening & Max Payne
Worst Actress Nominations
Jessica Alba, The Eye & The Love Guru
The cast of The Women (Annette Bening, Eva Mendes, Debra Messing, Jada Pinkett-Smith, and Meg Ryan)
Cameron Diaz, What Happens in Vegas
Paris Hilton, The Hottie & The Nottie
Kate Hudson, Fool’s Gold & My Best Friend’s Girl
Worst Supporting Actor Nominations
Uwe Boll (as himself), Uwe Boll’s Postal
Pierce Brosnan, Mamma Mia!
Ben Kingsley, The Love Guru & War, Inc. & The Wackness
Burt Reynolds, Deal & In the Name of the King: A Dungeon Siege Tale
Verne Troyer, The Love Guru & Uwe Boll’s Postal
Worst Supporting Actress Nominations
Carmen Electra, Disaster Movie & Meet the Spartans
Paris Hilton, Repo! The Genetic Opera
Kim Kardashian, Disaster Movie
Jenny McCarthy, Witless Protection
Leelee Sobieski, 88 Minutes & In the Name of the King: A Dungeon Siege Tale
Worst Screen Couple Nominations
Uwe Boll and any Actor, Camera, or Screenplay
Cameron Diaz and Ashton Kutcher, What Happens in Vegas
Paris Hilton and either Christine Lakin or Joel David Moore, The Hottie and the Nottie
Larry the Cable Guy and Jenny McCarthy, Witless Protection
Eddie Murphy and Eddie Murphy, Meet Dave
Worst Prequel, Remake, Rip-Off, or Sequel Nominations
The Day the Earth Blowed Up Real Good
Disaster Movie and Meet the Spartans
Indiana Jones and the Kingdom of the Crystal Skull
Speed Racer
Star Wars: The Clone Wars
Worst Director Nominations
Uwe Boll, 1968: Tunnel Rats, In the Name of the King: A Dungeon Siege Tale and Uwe Boll’s Postal
Jason Friedberg and Aaron Seltzer, Disaster Movie and Meet the Spartans
Tom Putnam, The Hottie & the Nottie
Marco Schnabel, The Love Guru
M. Night Shyamalan, The Happening
Worst Screenplay Nominations
Disaster Movie and Meet the Spartans
The Happening
The Hottie and the Nottie
In the Name of the King: A Dungeon Siege Tale
The Love Guru
Worst Career Achievement
Uwe Boll
Novelist Michael Crichton has died at the age of 66. He had been battling cancer secretly. Crichton penned such bestselling books as “Jurassic Park” and its sequel “the Lost World,” “The Andromeda Strain,” “Congo,” “Twister,” “Terminal Man,” and “Disclosure,” as well as having created the hit series “ER.” Read more…
Focus Features has just released an exclusive behind-the-scenes video from their upcoming animated film Coraline. The video features clips, behind-the-scenes footage, and interviews with the cast and crew, including Henry Selick and Neil Gaiman. You can view the video from Rotten Tomatoes here:
Can’t get enough Coraline? Then enter IGN’s sweepstakes for your chance to win a set visit to the film! Based in Portland Oregon, this is a once in a lifetime opportunity for one fan to experience the magnificent creative vision, the mind-blowing craft, and the meticulous detail of the first ever high-definition stop-motion animated feature to be filmed in 3-D! You can enter for your change to win here:
http://focusfeatures.com/coraline/sweepstakes/
More info on ‘CORALINE’
Release Date: February 2009 (nationwide)
Synopsis: A high-definition stop-motion animated feature – the first to be originally filmed in 3-D – with spectacular CG effects, based on Neil Gaiman’s international best-selling book. A young girl (Dakota Fanning) walks through a secret door in her new home and discovers an alternate version of her life. On the surface, this parallel reality is eerily similar to her real life – only much better. But when this wondrously off-kilter, fantastical adventure turns dangerous, and her counterfeit parents (including Other Mother [Teri Hatcher]) try to keep her forever, Coraline must count on her resourcefulness, determination, and bravery to get back home – and save her family.
Director: Henry Selick (“Tim Burton’s The Nightmare Before Christmas”)
Writers: Henry Selick; Based on the book by Neil Gaiman
Cast: Dakota Fanning, Teri Hatcher, Dawn French, Jennifer Saunders, Ian McShane
This movie looks fantastic. Based on the cast alone you know that the Coen brothers have another winner. Check out some stills from the movie below:
Here’s a good look at 13 movies that took a chance with a new direction and broke a few (unofficial) rules in the process. From GliPress.blogspot.com:
For all the creativity and innovation that goes into making (some) Hollywood films, there are also a lot of ideas that get recycled time and time again. I’m not referring to stock characters or the sequalitis that hits multiplexes every summer. I’m talking about the basic building blocks of storytelling that are ingrained in the movie-going experience.
Every once in a while, though, a film comes along that takes an assumption about how American movies are supposed to be made and changes it, sometimes resulting in something truly memorable. Producers who want to make a film that breaks one of the unwritten rules of motion pictures risk a lot – studios might not want to fund the film, theaters might not show it, audiences might not respond to it. The reward for taking the chance, though, is recognition for being a really interesting experiment, or, in some cases, taking your place among the greatest films ever made.
Time Code (2000)
Rule Breaking Idea: Show four frames simultaneously on the screenWhen I go to a movie theater, I assume I will sit in a chair. I assume everyone will face the same direction, the lights will be turned off (or at least down), and I will look at a large rectangular screen onto which I will see one series of moving photographs at a time. Mike Figgis’ work, in which he shows the audience four scenes running at the same time, changes one of the basic expectations of watching a movie. Keeping track of different lines of action is an interesting experience, like being a building security guard who must keep tabs on a group of cameras, mentally sorting out the important bits from the mundane. I finished my viewing wondering how much I missed, or if maybe my brain could eventually get used to this kind of viewing, the same way all film viewers use persistence of motion to watch any film.
Star Wars: Episode V - The Empire Strikes Back (1980)
Rule Breaking Idea: The good guys loseIn mass-marketed science fiction and fantasy films, from Flash Gordon to Superman to The Lord of the Rings, it’s an assumption that before the end credits roll the heroes will pull out some kind of victory by vanquishing the evil-doers, even if only temporarily. Perhaps that is a necessary assumption in a universe where a few deranged people can do a lot of damage with the firepower science and magic provides. The idea of the hero has been around since humans could tell stories, and in most of them, even if the hero falls, it’s not without accomplishing something worthwhile or going out with a noble flourish.
There would be no such victory for the heroes in George Lucas’ second installment of the Star Wars saga. In the previous episode, the scrappy Rebels scored a major victory against Darth Vader and his minions. In the sequel, the Rebels get their collective backsides handed to them by the Empire, militarily (the “battle” on Hoth wasn’t so much a fight as a delay action to allow the Rebels to run away), personally (Han Solo is betrayed by his friend and becomes a frozen dinner right after acknowledging his love for Leia) and emotionally (Luke Skywalker learns the biggest mass-murderer in the galaxy is his dad). At the end of the film, there’s nothing left to do but pick up the pieces, get a new hand attached, and move on.
By striking this cinematic minor chord, the franchise achieved a degree of resonance and depth it would not have had if it just presented a new way for the Rebels to stick it to the Empire. This kind of pathos was not achieved again until Episode III (Revenge of the Sith) when Anakin crosses over to the Dark Side.
Russian Ark (2002)
Rule Breaking Idea: Instead of making a film with 20-30 scenes, make a film with one 90-minute scene, shot in a continuous take.Like Time Code, this film changes a fundamental part of movie-watching. Shot at the Russian State Hermitage Museum, the film is a triumph if only because it managed to pull off a logistical nightmare. Hundreds of cast and crew have to get everything right at one time, or it’s back to square one. As a viewing experience, I found the film a bit exhausting. I guess I’m just used to breaks in the narrative that cutting from scene to scene provides. Since it’s not possible to jump from one place or time period to another using this technique, the storytelling range is automatically restricted as well. It’s a beautiful film and well worth the time to see, but I’m not sure this technique would work on a regular basis.
Reservoir Dogs (1992)
Rule Breaking Idea: Make a heist film that shows everything except the heistThere’s nothing quite like watching a detailed, well-planned heist unfold on film. Criminal acts form the centerpiece of a lot of entertaining movies. (see: Heist, The Killing, Ocean’s Eleven, Rififi, Sexy Beast, The Score, The Sting)
In Reservoir Dogs, Quentin Tarantino’s adapted story of a bank robbery gone very wrong, things proceed from a different angle. The audience gets to see the planning, the botched getaway, and the brutal, bloody aftermath as the crooks try to figure out what to do next. The one thing that’s missing is a depiction of the actual heist. And that’s okay. A well-written film can go anywhere, and Tarantino’s writing talent, combined with a top-notch cast, is such that two people talking to each other can be an entertaining as an action sequence.
Requiem for a Dream (2000)
Rule Breaking Idea: Make a truly anti-drug filmDrug and alcohol abuse have been subjects for films for years. Movies like The Days of Wine and Roses, Leaving Las Vegas, The Lost Weekend, The Man with the Golden Arm, and Trainspotting provide ample opportunities for actors to exercise their dramatic chops with scenes of decadence and ecstasy followed by anguish and regret. Drinking and drugging, while destructive, are also presented as poignant, dramatic, and even humorous and cool in certain aspects.
Much more than these films, Darren Aronofsky’s movie presents drug use as first and foremost scary, depressing, and gross. The main characters are young and pretty the way most young people are pretty. What they are not, though, is smart, interesting, glamorous, lucky, or headed anywhere. Their experiences with drug use are sad, brutal, and not fun in any reasonable way. The only joy they seem to get from the drugs they use comes from temporarily not having to look at their crappy lives, which also holds for one character’s mother, who is falling apart from abusing diet pills. In this film, the audience gets to watch four people destroy their lives without a hip soundtrack, snappy one-liners, or a happy ending to cushion the blow. I still have a hard time watching this harrowing film, but it’s worth the effort.
Psycho (1960)
Rule Breaking Idea: Kill off the main character halfway through the filmThis is a film that probably would not have gotten made if not for the fact that it’s Hitchcock. I heard on Turner Movie Classics that when the movie first premiered the director encouraged exhibitors to not let late-coming moviegoers in to see the film after a certain point. He wanted the audience to develop an attachment to the ostensible heroine before removing her from the narrative via the most famous murder ever put on film.
If this film were made today, Norman Bates would have gotten to kill off a few minor characters to show how evil he is, but Marion Crane would have found a way to survive, probably after a few close calls and some kind of one-on-one struggle with Bates before he’s dispatched at the last second. To try to do anything different shows just how radical Hitchcock’s idea was, and still is.
Memento (2000)
Rule Breaking Idea: Show the entire film in reverse scene orderThis is a very effective film noir with a great cast. The premise, centered on a man who has lost his ability to remember what just happened to him, lends itself to the technique Christopher Nolan used. Unlike a lot of films, the audience has to concentrate to understand what’s going on and keep track of how the last scene, which they saw first, fits into the first scene, shown last. Other than a lesser episode of Seinfeld, I’m not aware of any other films or TV shows that have tried the same thing, which is probably for the best.
High Noon (1952), The Ox-Bow Incident (1943), and Bad Day at Black Rock (1955)
Rule Breaking Idea: Take one of America’s most sacred myths, the Western, and turn it on its headEvery country has its national myths. In America, the West represents freedom, adventure, and progress. The bad guys are swarthy, desperate, easy to spot, and more or less easy to defeat. The good guy rides in on a white horse and, with the help of, the decent local folks, cleans up the town from violent desperados or greedy corporate land barons, to the gratitude of the town folk. The landscapes are boundless and beautiful, the horses fast, and there’s plenty of room for anyone with courage and gumption.
Some films, though, cast a different light on the Old West. In High Noon, a movie that was made partly in response to McCarthyism, everyone in the western town where the movie takes place is basically a coward, wholly dependent on the sheriff (played by Gary Cooper) to save them. When it’s the sheriff who needs help defending the town from a group of bad guys, the townspeople present any excuse not to put themselves in harm’s way, much to the chagrin and ultimate disgust of the main character.
In the Ox-Bow Incident, the mob is not just passively hiding from danger, but actively seeking out ways to punish people who are innocent of a murder. “Frontier justice” is portrayed as antithetical to the American ideal. In Bad Day at Black Rock, the frontiersmen are violent, ignorant, racist thugs. The film’s hero (played by Spencer Tracy) doesn’t come in on a horse form the dusty plain, but on a train from the city. The urban places that are often portrayed as something to escape from now become the source of justice for the innocent who live in the Wild West.
Goodfellas (1990)
Rule Breaking Idea: Look at organized crime from the bottom upAnother of America’s myths is the gangster picture. Ever since films were invented Hollywood has cranked out stories of criminal syndicates and the people who run them. (see Little Ceasar, The Public Enemy, Scarface: The Shame of a Nation, White Heat). In these movies, gangsters are high-livin’, charismatic, and exciting. Francis Ford Coppola’s epic The Godfather trilogy is perhaps the ultimate portrayal of the Mafia in all its operatic glory.
With Scorsese’s masterpiece, he focuses on organized crime’s middle-management, the guys who aren’t the kingpins, but have to get up in the morning and hustle just like everybody else. Other than the obvious difference of getting killed if you get out of line, there are parallels between their life and that of any other corporate citizen – how to keep the boss happy, how to move up the org chart, how to keep it all going day in and day out. David Chase would extend this theme with his portrayal of Tony Soprano and his business operations. It’s not the larger- than-life figures that make these films interesting, but the details and dynamics of living in a wholly unique society and economic system.
All Quiet on the Western Front (1930) and Paths of Glory (1957)
Rule Breaking Idea: Make a truly anti-war filmMotion pictures use the theme of war in a lot of ways: War is an outward expression of inner struggle between our good and evil natures (Platoon). It’s a surreal journey that transforms mens’ psyches (Full Metal Jacket, Apocalypse Now, The Deer Hunter). It’s a sick joke (Dr. Strangelove, The Great Dictator). It’s a thrill ride/videogame (Pearl Harbor). It’s a testament to the bravery and sacrifice of soldiers everywhere (The Big Red One, The Longest Day, Saving Private Ryan, Das Boot, Letters from Iwo Jima, and hundreds of other war films over the years).
These films do not glamorize or celebrate war, but there are only a few films that leave out the metaphors and symbolism and take the position that, in the end, war is nothing but people killing each other and destroying civilizations. There is nothing to be learned from it or gained by it. And there are no heroes, only survivors.
Ever since All Quiet on the Western Front was released it has been censored by countries going to war. At some point in history the film has been banned in Germany, Poland, Italy, Austria, Hungary, Bulgaria, Yugoslavia, New Zealand, and Australia, and has been re-cut in the U.S. to give it a happier ending. The movie is a straightforward story of young men who go off to war with their hearts full of bravado and theory (provided by a rhetoric-spouting school professor) until they experience the horror and misery of combat.
Stanley Kubrick’s Paths of Glory shows what happens when soldiers are caught up in a bureaucracy that maintaining order even if it means killing its own innocent soldiers. The film’s main character, Colonel Dax, is a front-line infantry officer who sees the process of death both from his enemy’s guns and from his own outfit’s brutal code of discipline. Kubrick was not only critiquing war itself, but also the way higher ranking officers, represented by General Broulard, treat their own soldiers like chess pieces, throwing them into the meat grinder while those with power remain comfortably behind the lines.
These two films are based in World War I, one the least popular wars from an American movie-making perspective. The most well-received films concerning America’s current military conflict, the war in Iraq, tend to be documentaries. For reasons that have yet to be definitively determined, fictional portrayals of the Iraq war have not done well in theaters.
From SciFi.com:
Robert Downey Jr., who stars in the upcoming movie Iron Man, told SCI FI Wire that he’s already looking ahead to a possible sequel and added that he’d like to explore the burden his superhero responsibilities impose.
“If you ask me, the next one is about what do you do with the rest of your life now that you’re completely changed?” Downey told reporters while responding to a question from SCI FI Wire during an interview in New York last weekend. “And you are in touch, and you have created this thing that has the power to take life. Essentially, you have been made into a god. A human being, metaphorically, who’s been made into a god is not going to turn out so well. And their conscience is going to come to bear.”
In Iron Man, Downey plays billionaire playboy and weapons manufacturer Tony Stark, who undergoes a dramatic change of heart after being captured by Afghan insurgents, and he emerges as the heroic Iron Man. The film is based on the Marvel Comics series.
One possible sequel storyline thread, Downey said, could be based on the “Demon in a Bottle” comic series. In it, an overwhelmed Stark becomes an alcoholic.
“I think the drinking will be a way to confront his age, his doubts, to confront the fact that Pepper [Gwyneth Paltrow] maybe gets a boyfriend,” Downey said. “He’s like, ‘I’m so happy for you.’” Downey then pretended to swig a drink.
“Then he shows up in the Iron Man suit going, ‘What’s he got that I don’t?’” Downey said. “I tend to think like [screenwriter] Shane Black in these situations. And no one thinks like Shane Black, stuff that really speaks to the truth of what happens between people.”
Downey then went off on a tangent, addressing Black’s uncredited contributions to Iron Man and further detailing what he’d like to see in a sequel. Black wrote the screenplay for the Downey film Kiss Kiss Bang Bang.
“The weapons and stuff would have to be cooler, too,” Downey said. “We would go to Shane Black, [director] Jon [Favreau] and I every once in a while, [and] it would be like going to Yoda. We’d bring him some salmon, and he’d want blueberries. And he’d never take a penny, and then he’d say something, and everything for six miles would evaporate. That idea that your brain has created something so destructive, it’s like the Manhattan Project myth; we have become the destroyer of worlds. But he’s not the destroyer of worlds.”
Downey paused and said, “Anyway, I answered it. People ask me, ‘What makes you think you could get it up for another one?’ Are you kidding me? We’re just getting started here.” Iron Man opens May 2.
On behalf of Lionsgate, we are pleased to present the teaser poster from the upcoming classic action-adventure-romance, THE SPIRIT, revealed by director FRANK MILLER at New York Comic Con this past weekend. Also check out an exclusive still from the set of the movie - featuring EVA MENDES as SAND SAREF, the jewel thief with dangerous curves. The only question is, will The Spirit save her, the love of his life turned bad, or will she kill him?
Synopsis:
Adapted from the legendary comic strip, THE SPIRIT is a classic action-adventure-romance told by genre-twister FRANK MILLER (creator of 300 and SIN CITY). It is the story of a former rookie cop who returns mysteriously from the dead as the SPIRIT (Gabriel Macht) to fight crime from the shadows of Central City. His arch-enemy, the OCTOPUS (Samuel L. Jackson) has a different mission: he’s going to wipe out Spirit’s beloved city as he pursues his own version of immortality. The Spirit tracks this cold-hearted killer from Central City’s rundown warehouses, to the damp catacombs, to the windswept waterfront … all the while facing a bevy of beautiful women who either want to seduce, love or kill our masked crusader. Surrounding him at every turn are ELLEN DOLAN (Sarah Paulson), the whip-smart girl-next-door; SILKEN FLOSS (Scarlett Johansson), a punk secretary and frigid vixen; PLASTER OF PARIS (Paz Vega), a murderous French nightclub dancer; LORELEI (Jaime King), a phantom siren; and MORGENSTERN (Stana Katic), a sexy young cop.
Then of course, there’s SAND SAREF (Eva Mendes), the jewel thief with dangerous curves. She’s the love of his life turned bad. Will he save her or will she kill him?
The Spirit is on his way to theaters January 16, 2009!
from RottenTomatoes:
Ridley Scott and Leonardo DiCaprio are teaming up again — and making a rookie screenwriter very wealthy in the process.
Variety reports that Relativity Media has purchased The Low Dweller, described as “a dark drama set in 1986 Indiana,” from writer Brad Ingelsby, “paying $650,000 against $1.1 million.” According to Variety, Ingelsby — a 27-year-old AFI grad — was living with his parents last week and working at his dad’s insurance company. From the article:
Plan is for DiCaprio to play Slim, a man released after serving years in prison for murder who wants only to follow through on his promise to marry his long-suffering girlfriend. But when he discovers his brother has been murdered after getting involved in a gambling racket, he feels obliged to avenge the murder.
As Variety notes, both DiCaprio and Scott have other projects lined up, but since the producers don’t expect The Low Dweller to take more than 35 days to shoot, it seems likely that the director and star — who just finished working together on the Iraq war drama Body of Lies — will be able to squeeze it in.
via Variety.
Turns out that the audience aren’t the only ones who are confused about where LOST is headed… Check out this article from TV Guide where the cast members from the confusing and addictive TV show ask their own producers what the deal is!
“It’s no shock to say that Season 4 ends with the Oceanic 6 getting off the island,” LOST executive producer Damon Lindelof shares with TV Guide. “The real mystery is how, and what they have to sacrifice, and what happens to the people who didn’t leave. You get all that this year.” Sounds good, we’ll take it. But what other intel are producers willing to spill? To find out, we turned to no, not viewers but to Lost cast members themselves for their own burning questions. Warning! The producers’ answers could cause a major head rush, if not a full-on Desmond-style time jump.
Jorge Garcia (Hurley): “Is Ben in the coffin?”
Carlton Cuse: Come on, Jorge!
Damon Lindelof: Seriously! [To Cuse] He’s just trying to make sure it’s not him. It’s process of elimination. The next question is, “Is it Michael?” [Laughs]
Cuse: Before the end of the year, you will know who’s in the coffin.
Lindelof: And Jorge will definitely know before anyone else.Yunjin Kim (Sun): “Is Aaron actually one of the Oceanic 6?”
Cuse: We’re not officially saying yet. We want the audience to engage in an active debate about who the Oceanic 6 are.
Lindelof: Following [Sayid’s] episode, we got several inquiries we weren’t anticipating about, ‘Is Ben a member of the Oceanic 6?’ He could’ve assumed the identity of somebody on the plane [with] no surviving family members. Who the actual six are is very much in play through the end of the [March 13th] episode. We’ll confirm or deny after that.Josh Holloway (Sawyer): “Is it Jack’s turn with Kate?”
Cuse: [Laughs] That doesn’t sound very romantic, but I guess we get the underlying meaning. The Jack-Kate situation remains unresolved and probably will be for a while.
Lindelof: We will say we haven’t seen the last of Sawyer and Kate this season. Not by a long shot.Henry Ian Cusick (Desmond): “It’s 2004 on the boat. What year is it in Penny’s world? What year is it when the Oceanic 6 get home?”
Lindelof: What’s fundamentally interesting about all the time-jumping is that we want it to make sense when people watch the show 10 years from now. We don’t want it to seem dated. So it’s not really about what year it is in the outside world, it’s about how many years have elapsed between the time that we’re watching on the island and the flash-forwards. That’s one of the fun games the audience is playing: “Gee, Aaron looks like he’s about 18 months old. What does that mean, and how old was he when they got off the island?”
Cuse: There are some growth issues when you go on or off the island. But I can’t say more about that.
Lindelof: You’ve already said enough.Evangeline Lilly (Kate): “Did Michael reach the mainland? Go home? Come back to rescue us?”
Cuse: The good news is that Evie will get all of her answers in [the March 20th] episode.
Lindelof: Well, most of them.
Cuse: Those questions form the basis for that episode. Evie should be somewhat happy.Elizabeth Mitchell (Juliet): “Why did Juliet become such a badass? Who trained her — the Others?”
Cuse: I think there was probably some martial arts in New Otherton.
Lindelof: She probably went out shooting with Friendly back in the day, which is why she can handle a firearm so well. But the real inspiration for Juliet being a badass was Elizabeth herself. When she read for the part, she had this huge cast on her arm and was talking about her days of kickboxing….
Cuse: And then she beat Damon up.Holloway: “Sawyer needs a freakin’ haircut! Since I’m living with Hurley, can he cut my hair?”
Lindelof: [Laughs] That episode’s a casualty of the strike.
Cuse: But yeah, Josh can have a haircut.
Lindelof: Josh might’ve forgotten, but this is a recurring request from him. He’s like, ‘My hair’s getting long, can’t Kate cut it?’ So we did an episode [in Season 2] where Kate cuts his hair. I love how Josh chooses who’s going to be his barber at any given time!Cusick: “Did Jack’s flash-forward in the third-season finale take place after the events of Sayid’s most-recent episode?”
Cuse and Lindelof: Yes.Naveen Andrews (Sayid): “Damon spoke once about going back into Sayid’s childhood. It didn’t sound like bulls–t at the time. Has he abandoned that?”
Lindelof: I love how he phrases it — “It didn’t sound like bulls–t at the time” — [implying], “But it certainly seems like bulls–t now.” [Laughs] It’s certainly something we still want to do. It wouldn’t necessarily be an entire flashback based in his childhood, but there may be significant things that happened when Sayid was a kid that we need to reveal.
Prepare to be seduced…
A gothic thriller for the twenty-first century, Season of the Witch tells the tale of two beautiful witch sisters and the love triangle that consumes the man sent to investigate them.
Gabriel Blackstone is a hacker, information thief, and skilled “remote viewer” – he makes an excellent living stealing other people’s secrets. When a former lover asks him to look into the disappearance of her stepson, Gabriel’s investigations lead him to Monk House, a rambling Victorian home where time seems to stand still. Gabriel becomes increasingly bewitched by the house, and by its owners, the beautiful, enigmatic Morrighan and Minnaloushe Monk.
The sisters are “solar” witches, obsessed with the study of alchemy and the Art of Memory, a practice invented by the ancient Greeks. Gabriel believes that his client’s son has been murdered and that one of the women is the killer. But which one? Gabriel finds himself drawn inexorably deeper into the sisters’ complex world – becoming entranced even as he realizes he is in mortal danger.
Swirling together elements of the Matrix, Interview with the Vampire, and The Historian, this enthralling novel takes on big themes – love, death, alchemy, the power of the human mind to transform and transcend reality – and will beguile and entrance all who turn its pages.
For more information see http://www.seasonofthewitch.com
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