TriStar Pictures believed they had the surest of things when they hired Roland Emmerich and Dean Devlin to make the first Hollywood "Godzilla" flick. The duo had just delivered the biggest film of 1996 in "Independence Day," and appeared poised to become a blockbuster brand name on par with Steven Spielberg and James Cameron. Every studio in town wanted to make their next smash hit. But this is where the trouble started: TriStar wanted Emmerich and Devlin to make its next smash hit.
The 1998 iteration of "Godzilla" did not originate with Emmerich and Devlin. TriStar came very close to greenlighting it in 1994 with Jan De Bont (hot off the success of "Speed") directing a screenplay by Ted Elliott and Terry Rossio (who would eventually make their franchise fortune on the "Pirates of the Caribbean" series), which would've placed it in direct competition with "Independence Day" during the summer of 1996. So this all felt awfully fortuitous.
The 1998 iteration of "Godzilla" did not originate with Emmerich and Devlin. TriStar came very close to greenlighting it in 1994 with Jan De Bont (hot off the success of "Speed") directing a screenplay by Ted Elliott and Terry Rossio (who would eventually make their franchise fortune on the "Pirates of the Caribbean" series), which would've placed it in direct competition with "Independence Day" during the summer of 1996. So this all felt awfully fortuitous.
- 4/20/2024
- by Jeremy Smith
- Slash Film
In 1979, Fleetwood Mac released Tusk, an experimental album that was a stark departure from Rumours. The album was not as commercially successful as its predecessor and, while critics liked it, they didn’t think it stacked up to the band’s 1977 magnum opus. Still, it drew some comparisons to The Beatles. Some critics didn’t use the comparison as a compliment, though.
Critics compared a ‘Fleetwood Mac’ album to The Beatles
The stormy dynamic that hung heavy over the Rumours recording sessions followed Fleetwood Mac into the studio as they worked on Tusk. Lindsey Buckingham seized creative control and his bandmate’s songs didn’t fit all that snugly into his vision. As a result, the album sounded like a mismatched collection of songs instead of a cohesive whole. This quality, some critics said, evoked The Beatles’ White Album.
“[F]leetwood Mac‘s Tusk represents both the last word in lavish...
Critics compared a ‘Fleetwood Mac’ album to The Beatles
The stormy dynamic that hung heavy over the Rumours recording sessions followed Fleetwood Mac into the studio as they worked on Tusk. Lindsey Buckingham seized creative control and his bandmate’s songs didn’t fit all that snugly into his vision. As a result, the album sounded like a mismatched collection of songs instead of a cohesive whole. This quality, some critics said, evoked The Beatles’ White Album.
“[F]leetwood Mac‘s Tusk represents both the last word in lavish...
- 4/17/2024
- by Emma McKee
- Showbiz Cheat Sheet
Crime shows can take on many forms. There are procedurals, shows like "Homicide: Life on the Streets" and "Law and Order" (and its endless spin-offs), and then, there are the gritty masterclass dramas, shows like "The Wire" and "The Sopranos." Some favor the process, some the outcome, though all abound with the kind of detached criminal activity audiences fervently eat up. Just look at "Breaking Bad's" 16 Emmy wins.
"NYPD: Blue," "Hill Street Blues," "Criminal Minds," "CSI," and the like endure because they're accessible. They're fun. They're mainstream. Crime dramas like "Better Call Saul" are critically acclaimed and instantly recognizable. However, some crime dramas slip through the cracks. The John and Jane Does of crime shows, the ones that, for one reason or another, never quite found their audience. Whether they were canceled too soon, premiered during "Game of Thrones'" triumphant reign, or featured a misstep or two that alienated huge swaths of their audiences,...
"NYPD: Blue," "Hill Street Blues," "Criminal Minds," "CSI," and the like endure because they're accessible. They're fun. They're mainstream. Crime dramas like "Better Call Saul" are critically acclaimed and instantly recognizable. However, some crime dramas slip through the cracks. The John and Jane Does of crime shows, the ones that, for one reason or another, never quite found their audience. Whether they were canceled too soon, premiered during "Game of Thrones'" triumphant reign, or featured a misstep or two that alienated huge swaths of their audiences,...
- 1/8/2023
- by Chad Collins
- Slash Film
On May 16th, 1974, Ry Cooder and Leon Redbone wrapped up a gig at New York City’s Bottom Line, but the crowd was told to stick around for a surprise. It was 2:15 a.m., and a man with a guitar appeared onstage. “This one is called, um … this one’s called, um … ‘Citizen Kane Junior Blues!'” said Neil Young, strumming the intro to “Pushed It Over the End.”
It was the public’s first glimpse of his deeply new personal album On the Beach, released 45 years ago, on July 19th,...
It was the public’s first glimpse of his deeply new personal album On the Beach, released 45 years ago, on July 19th,...
- 7/19/2019
- by Angie Martoccio
- Rollingstone.com
Penny Marshall, who starred alongside Cindy Williams in the hit ABC comedy “Laverne & Shirley” and then became a successful director, died on Monday night at her Hollywood Hills home due to complications from diabetes, Variety has confirmed. She was 75.
Marshall was the first woman to direct a film that grossed more than $100 million, the first woman to direct two films that grossed more than $100 million, and she was only the second woman director to see her film Oscar nominated for best picture.
“Laverne & Shirley” ran from 1976-1983 and proved an enormous success for ABC. It was the No. 3 show on television in 1975-76, No. 2 in 1976-77, and No. 1 in 1977-78 and 1978-79, spawning ancillary revenue in the form of merchandising, a record album and an animated series based on the show.
Marshall began her directing career by helming several episodes of “Laverne & Shirley.” With little experience, she...
Marshall was the first woman to direct a film that grossed more than $100 million, the first woman to direct two films that grossed more than $100 million, and she was only the second woman director to see her film Oscar nominated for best picture.
“Laverne & Shirley” ran from 1976-1983 and proved an enormous success for ABC. It was the No. 3 show on television in 1975-76, No. 2 in 1976-77, and No. 1 in 1977-78 and 1978-79, spawning ancillary revenue in the form of merchandising, a record album and an animated series based on the show.
Marshall began her directing career by helming several episodes of “Laverne & Shirley.” With little experience, she...
- 12/18/2018
- by Carmel Dagan
- Variety Film + TV
Crack the Sky have an impressive prog résumé. In their Seventies heyday, the group toured with everyone from Frank Zappa to Elo; they recently earned a spot on Rolling Stone‘s list of the 50 Greatest Prog Rock Albums; and they’ve remained a staple of the Baltimore music scene for the past 40 years.
So why, as they prepare to issue their 17th album, Living in Reverse, is the band still a largely unsung obscurity, even among devotees of their genre?
Among other reasons, they were too arty and experimental for pop fans,...
So why, as they prepare to issue their 17th album, Living in Reverse, is the band still a largely unsung obscurity, even among devotees of their genre?
Among other reasons, they were too arty and experimental for pop fans,...
- 8/15/2018
- by Ryan Reed
- Rollingstone.com
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