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John Woo’s Unfinished Projects

May 30, 2012

Woo Van Damme New Film
John Woo with Jean-Claude Van Damme. Picture from at least 100 years ago.

It’s been at least two posts since I’ve written about John Woo. He’s been pretty quiet since the release of Red Cliff which still demands a larger fanbase. I think hardcore fans skipped out on it theatrically knowing it wasn’t the full cut and the interest in Chinese epics has dwindled since we are long out of the era of Crouching Tiger, Hidden Dragon or Hero. Woo’s slow down in production had me a bit worried, especially after hearing him deny having throat cancer doesn’t help much. He had a tonsil tumor removed before February this year as well and is not getting much progress done on his romance film Love and Let Love. Whether this film gets off the ground or not, it can be placed in the large pile of projects that Woo had put on hold. I’ve tried to make a complete list compiling what is currently in the works and films that are no longer in play.

Kickin’ off with the films that are currently in the lengthy period known as “pre-production”:

John Woo’s Le Samourai

Nearly any article that mentions a mild history of Woo always brings up either Le Samourai or Jean Pierre Melville’s influence on him. It’s hard to overstate, and would make me wonder how Melville would react to such love from directors like Woo or Johnnie To. According to French director Jacques Rivette (who hated Woo’s Face/Off but loves Luc Besson), Melville apparently always wanted to have disciples so I’d suppose he would be proud to have such followers. I don’t think there’s any real reason for Woo to remake Le Samourai as he’s already nipped the best bits of it for The Killer ages back. It would also be an American film which only makes me imagine Nicolas Cage in the Alain Delon role and Rihanna as the nightclub singer. It’d be a big step up from her work in Battleship probably, but we’ll have to wait and see if anything new comes from this project.

John Woo’s Marco Polo

There’s very little information about this one, but Woo is interested in another historical film about Marco Polo, specifically his relationship with Kublai Khan. I’m not Chinese history expert (and neither is Woo from his story in Red Cliff) but from drawings of Kublai, I think Lam Suet should co-star. If he’s working his historical romance now, I think three in a row would be a bit much to ask of Woo. Cut it out with the historical films already.

John Woo’s Flying Tigers

Here’s Woo being slow to the punch again. Zhang Yimou’s Flowers of War was first to be the big popular film that was a Chinese production with an English-language actor (Christian Bale). This could be why it’s been at least a year since we’ve heard anything about Flying Tigers which was about an American Volunteer Group and the 14th Air Force during World War II. This would have been a film starring Tom Cruise which Woo hasn’t worked with since, well, the worst film in the Mission Impossible series. As no one has spoken about this film in quite a while, I can only assume it’s been shoved back. Tom’s very busy doing his hair metal movie anyways.

John Woo’s Youth of the Beast

This one I was the most excited for a number of reasons. First, it’s Woo’s return to the gangster genre, his first since…well, I suppose either Hard Boiled or A Bullet in the Head. Has it been that long? Second, it’s a film that Woo hasn’t already basically done unlike Le Samourai Woo has stated that he is a fan of the Japanese yakuza genre, but hasn’t explicitly noted how Youth of the Beast or any of Seijun Suzuki’s films have influenced him. Lastly, it’s a film that not everyone knows. Youth of the Beast is generally considered higher-tier Suzuki from his fan-base but it’s not quite as popular as Branded to Kill or Tokyo Drifter. The only problem? The film will probably be American as it’s plot now involves a “western outsider” and a two groups of gangsters: Russian and Japanese. Woo’s American films’ aren’t my favourite’s, but I’m still quite curious.

That’s a lot on Woo’s plate so that bastard better get well and get filming as soon as possible. He has left projects off long enough or has turned down films which would’ve have interesting results. Let’s quickly dash through the list of films that Woo has passed up.

John Woo’s King’s Ransom

Anticipating King’s Ransom is nostalgia from the 90s. In a perfect world, this should have been Woo’s first project in the United States as it was reportedly going to star Chow-Yun Fat and be written by the Face/Off writers Michael Colleary and Mike Web. This film has been in talks since the 1990s and Woo has finally given up the idea of directing it. The latest news on King’s Ransom is that it will be directed by Milky Way alumni Patrick Leung who also worked with Woo as a second unit director on The Killer and Red Cliff. In the book John Woo: The Interviews, Woo states the script has changed on King’s Ransom, so I don’t think we’ll be seeing any Face/Off-esque dialouge directly translated to Mandarin anytime soon.

John Woo’s Metroid

Video games aren’t movies. Movies based on things where a protagonist who is generally mute sound like bad things to base your film about. Either way, Woo has purchased the rights to a film version of the Metroid series around 2006. This was pretty shocking for me to hear about at the time as Woo seems to dislike science fiction. He even turned down the original script to Face/Off which he found to be too science fiction oriented in 1993. His only real step into the science fiction arena was in Pay Check which isn’t anyone’s favourite Woo film. No one has really discussed anything about Metroid relating to John Woo since the announcement of him buying the rights to it in the mid-2000s, but I have a hunch that any paper Woo signed relating to this project is gathering dust in a closet.

John Woo’s Goldeneye

I don’t even no the accuracy of this one as the only mention of it I can find is in Christopher Heard’s book Ten Thousand Bullets which has a lot inaccurate information. According to the book, MGM offered Woo a chance to direct GoldenEye in the 1990s even before he signed on to make Broken Arrow which is a nearly forgotten film. Woo apparently took on Broken Arrow as a way to try to learn how to use special effects…so if you’re a fan of pre-Matrix post-Terminator 2 special effects, there’s a copy in a bargain bin somewhere with your name on it. GoldenEye, and the James Bond universe is probably something Woo shouldn’t have tackled in the long run. James Bond is an institution and you can’t really change those films too much and get away with it. Neither the producers nor the James Bond fans would really be happy with that. Woo would’ve been held down by the restraints of what requires a Bond film to be a Bond film at that time and not really get any of his own ideas really placed within it. But it’s still not as strange as the next film Woo had been considering.

John Woo’s Phantom of the Opera

I have just stared at the heading of this section for a minute trying to even think about what to write here. Woo has long pined for the chance to direct a musical film or as he describes it as “his action musical”. There’s little information in this one within the Ten Thousand Bullets book and the John Woo: The Interviews books stating that John Travolta suggested the idea to him. Woo reported that “it somehow didn’t work out”. Even more nuts is Woo was also in the running to direct Chicago, remember that film? No one cares about Chicago anymore. Woo had already signed on to direct Mission Impossible 2 at that time, so there was no chance of going through with it.

Woo’s a director with a long history mixed with rumors, classics and films ideas that need to be done as soon as possible. I don’t know how ill Woo may really be, but I’m hoping for good news and good films in the future. In the meantime, I’m going to see if Paul Verhoeven is planning to make another film before he turns 100.

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Colombiana Review

September 8, 2011
Luc Besson starts a script
Luc Besson writes a film script as I blog

Luc Besson fans generally praise some of his 90s films such as The Professional, Nikita and The Fifth Element. On the otherside, we has his detractors who claim his films are poorly told stories derivative of American and Hong Kong action films. Personally, I’m on the fence about his works. Some people have referred to him as the French Spielberg or the French John Woo, but since he’s slowed down his film output (outside making animated films or movies involving woman who releases a pterodactyl in Paris), I’m leaning towards the group that believe he’s more like a French Roger Corman. Since the 2000s, he’s been more active churning out scripts for French directors who are now handling a lot of the major Hollywood action films. These include Louis Leterrier (The Transporter, Transporter 2 and The Incredible Hulk), Pierre Morel (District B13, Taken and From Paris with Love). I’m not sure how Besson and Europa pick directors, but Morel claims to have started at Europa by making tea for Bessson and crew.

For those not in the know, Roger Corman managed to make a lot of quickies that usually worked, but (in my opinion) usually range from bad to average. Besson is in the same boat and I usually put his screenplays to blame which often feel rushed and lack good story-telling techniques. That’s why when I see his name attached to a script, I get a bit concerned! Columbiana is not exception. Directed by the amazingly named Olivier Megaton, it’s a slick film but manages to simply be quite …average. I mean really really average. All the actors are all superbly okay: actin’s okay, clean visuals with a sexy lead who dreams of being a killer at a young age to get her revenge on the people who killed her parents. You’ve seen it all before not only in Besson’s films like Nikita, but in his other productions with revenge as an ingredient.

I don’t even know if I’d recommend it for seasoned Besson fans as it’s just far too familiar to anyone who’s seen his earlier films. Even if you ignore Besson and are one of the world’s few Olivier Megaton fans, you’ll find he’s toned down action in comparison to his previous film Transporter 3 leaving nothing but revenge story in it’s place until the final act. The action during the fist fight at the end is some of the worst I’ve seen from a major studio production. Why am I having so much trouble following punches between two people in a single room? I’m going to assume that the action is toned down as well Corey Yuen was not involved with the action choreography, as he was in Transporter 3. Unless you can pass seeing the attractive of Zoe SaldaƱa in motion, then you can gi…

Luc Besson starts a script
Well, that was fast.

Damn you Besson, you finished your script before I finished my blog. But yes, Colombiana will hardly leave you breathless if you remember it at all after leaving the theater. Avoid!

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Gorgeous Thai Film Posters

March 16, 2011

I’m not nothing about how film promotion works in Thailand, but their posters always seem to make anything they advertise more interesting. They often seem to use using existing posters for a template, and then give them this exotic flair and painter like quality that are usually reserved for Indiana Jones or Star Wars film posters. This stylish Thai trend seemed to have existed from the 1970s to the 1990s and then it stopped. Does anyone know what happened? Why would they stop designing things as nice as these?

A View To Kill Thai Poster
A View to Kill (1985)

Rambo Thai poster
First Blood (1982)

Just Heroes poster
Just Heroes (1989)

La Femme Nikita Thai poster
Nikita (1990)

Police Story 2 Thai poster
Police Story 2 (1987)

The Terminator Thai poster
The Terminator (1984)

I have some more I may post another day and I have these files in a higher resolution if anyone is interested as well. Any requests?

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