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‘Arrow’ Season 4 Will Have ‘Lighter’ Tone; Season 3 Behind-The-Scenes Videos & Poster:

As far as themes go, Arrow‘s third season can be summed up by Harvey Dent’s ironically iconic words from The Dark Knight: “The night is darkest just before the dawn.” While this wasn’t exactly true for Harvey, it certainly seems like Oliver Queen’s dawn has arrived.

Throughout the particularly dark season, which opened with a major character’s death and then continued that morbid tone throughout, the titular hero struggled with problems of identity – oscillating between not one or two, but three different names – letting go of his individual crusade, and embracing the relationships in his life. By the end, each of these hurdles was overcome, and Oliver finally got his ‘happily ever after’ in the season finale (read our review) as he and Felicity drove off into the sunset. That being said, it may have been more appropriate for the season to end with a sunrise rather than a sunset, considering the direction the series intends to take heading into season 4.
While speaking to io9, series showrunner Marc Guggenheim confirmed Arrow will take a cue from its brother series, The Flash, by infusing season 4 with a bit more light and laughs. But never fear, fans of darkness, Guggenheim promises the show won’t do a complete 180.

Check out his full statement below:

“[Season 4] will take a lighter tone. That’s pretty much the only thing I say without spoiling it. We’ve been working for about a month now in the writer’s room, talking about season 4, and I think that one thing we all collectively understood was season 3 beginning with Sara’s death, because it’s the death of a major character in the show, it set the tone for the remainder of the season. And I’m not the least bit apologetic for that tone. I happen to like dark and I like the fact that Arrow is a pretty dark show particularly for a network show. That said, every year you want to mix things up and there was sort of a collective desire on all our parts to try to inject a little bit more lightness into the show, a little but more humor. It’s not going to radically change. The show’s still going to be the show but in terms of tone, we’re coming off a very, very hard season for all of our character. We wanted to try to mix it up a little bit.”

If season 3 was primarily black in terms of palette and tone, season 4 could turn green. Bright green. After retiring from vigilantism at the end of season 3, it would seem Oliver is officially done being the Arrow. In fact, Stephen Amell even confirmed this, saying he had worn the hooded costume for the last time. And we believe him. But what we don’t believe is that he has worn a green costume for the last time. With the fourth season set to (somewhat) reconstruct and revitalize the show, Oliver may finally assume the destined Green Arrow mantle. This would certainly fit in with a lighter tone, considering the Green Arrow of comic lore is known as much for his bow and arrow skills as he his for his quips and humor.
Or could the ‘lighter tone’ have anything to do with another green-gilded hero making his debut on the show? “In brightest day, in blackest night, no evil shall escape” John Diggle’s sight? As we have already speculated – and as David Ramsey has hinted – this is highly unlikely despite the numerous Green Lantern Easter eggs both Arrow and The Flash have dropped. Rather, it would make more sense in Arrow‘s grounded, gritty world for Diggle to become a less CGI-laden hero, such as the Guardian.

Either way, the notions that Diggle may finally don a mask and Oliver may finally don the Green Arrow persona both serve as game-changing moves for the show – moves that would do a lot more than “mix it up a little bit.” And with DC’s Legends of Tomorrow joining the interconnected mix, the change coming to our heroes’ world could be more radical than originally assumed.

Until then, though, check out this poster recapping the major events of season 3 and two behind-the-scenes videos of Arrow‘s epic finale:
Arrow season 4 will premiere this fall along with The Flash season 2 and season 1 of CBS’ Supergirl. DC’s Legends of Tomorrow will premiere as a midseason replacement in early 2016.

Director Ed Zwick Reteaming with Tom Cruise for 'Jack Reacher 2'

Now they have my attention. It's being reported by Deadline that Paramount and Skydance are looking to hire Edward Zwick (aka Ed Zwick) for the in-development Jack Reacher sequel, which will once again star Tom Cruise. Based on Lee Child's book series, the first film followed Cruise as Jack Reacher being framed for killing innocent people, and was directed by Christopher McQuarrie. While McQuarrie has since moved on to direct Mission: Impossible Rogue Nation, he will still be executive producing this. Cruise will return for Jack Reacher 2 with Zwick at the helm, directing a script by Richard Wenk that will be revised by Zwick and Marshall Herskovitz before they start filming. A few more details on this next one found below.

Early word is that Jack Reacher 2 will be based on the book Never Go Back, published in 2013. "Reacher heads back to his old military base in Virginia to take a woman to dinner who is now the commanding officer. By the time he gets there, she has been arrested, and Reacher finds himself being charged with pummeling one guy and fathering a child with a woman. He can't remember either transgression but gets to the bottom of it with cunning and sometimes brute force." We'll keep an eye out for development details. Zwick and Cruise worked on The Last Samurai together, one of my favorite films, but that was years ago. Zwick's most recent features have been Pawn Sacrifice, Love & Other Drugs and Defiance. Stay tuned for more.

John Lasseter Says Disney & Pixar Working To Improve Diversity In Their Animated Films

Diversity in representation with respect to race and/or gender is a hot discussion topic in film culture right now, whether we’re talking about superhero movies, sci-fi/fantasy franchise such as Star Wars, or really any kind of genre property, for that matter. For example, Mad Max: Fury Road has only just opened in U.S. theaters (at the time of writing this) and already the ‘Net has been flooded with think-pieces analyzing/praising George Miller’s post-apocalyptic action film for its representation of female characters.

It’s not just the presence of women and/or non-white human characters onscreen; demands for greater diversification in terms of talent behind the camera have been just as loud of late too. We’ve broken down before how there’s very much a financial/commercial incentive for studios to heed these calls for improvements in diversity (in the context of superhero film casting). For a different case in point, the sequel Pitch Perfect 2 – a movie with a predominantly female cast that was also written and directed by women – just opened atop the U.S. box office with an estimated $70 million haul.
Walt Disney Animation Studios and Pixar Animation Studios Chief Creative Officer John Lasseter let it be known that Pixar and Disney are heeding such calls, while he spoke with the press following the Cannes Film Festival debut for Pixar’s Inside Out (which is already getting strong reviews). Here’s what Lasster had to offer
Lasster’s not just spouting a hollow PR message here, either, as we’ve also seen evidence that Pixar is taking steps to not just improve diversity in its storytelling, but also its personnel. For example, Inside Out feature multiple female protagonists and was co-written by relative newcomer Megan LeFauve; The Good Dinosaur, Pixar’s Fall 2015 release, is being directed by Peter Sohn, the first Korean/American director to helm one of the studio’s films; and the upcoming Toy Story 4 (which Lasseter is directing) will be co-written by actor/screenwriter Rashida Jones – and Lasster has provided assurances that the movie will have a “strong female voice” too.

Elsewhere, Disney Animation Studios has two films due to arrive in 2016, Zootopia and Moana – the latter of which shall feature the studio’s first Polynesian princess character and Dwayne Johnson voicing her demigod side-kick. Lasseter briefly discussed that project, when asked if Disney/Pixar has any plans to release a feature with a black protagonist in the near future:
The last Disney Animation release, Big Hero 6, likewise featured a superhero team of mixed ethnicities (with the expectation being that a second installment will happen one day), while a sequel to the studio’s mega-hit animated feature film musical Frozen is in the pipeline – and, like its predecessor, will be co-written/directed by Jennifer Lee. That is to say, the Mouse House and Lasseter are taking steps to improve the company track record when it comes to diversity in both representation as well as the company’s hiring practices – though, that progress is no doubt coming slower than many would (fairly) like.

Similarly, there’s certainly a whole lot of room for additional improvement in that area for Disney and Pixar alike, and it’s fair to say the market demand for improvements in Hollywood’s representation of the world is only going to keep getting stronger in the immediate future. It’s a win-win situation for all involved, though: the studios will be rewarded with greater box office returns and good PR, while the public gets to enjoy films created by a greater variety of talented storytellers (who, ultimately, are the ones who will be hired to craft the studios’ “products”).

The short of it: now it’s up to the general public to keep on pushing for the studio powers to properly follow through with the promised changes.

–

Inside Out opens in U.S. theaters on June 19th, 2015. Moana arrives on November 23rd, 2016.

Source: Variety

Jackie Chan And Owen Wilson Returning For ‘Shanghai Dawn’:

In the age of long-running film franchises, and sequels that are never too late (see: TRON: Legacy), any memorable movie property is up for grabs. That holds true with comedies as well with Dumb & Dumber getting a sequel last year with its original stars Jim Carrey and Jeff Daniels 20 years later and more recently, Zoolander 2 finally entering production 14 years after its predecessor released.

Zoolander star Owen Wilson must have found something special in returning alongside Ben Stiller for a followup, because he’s also set to rejoin another old pal to bring back another wacky comedy franchise. Wilson will re-team with Jackie Chan for a third Shanghai adventure.

2000’s Shanghai Noon, an American-Chinese western that paired the overly talkative outlaw Roy O’Bannon (Wilson) with the loyal member of the Chinese Imperial Guard Chon Wang (Chan) in a story that involved them rescuing a princess, was enough of a hit to warrant a sequel. Three years later, Shanghai Knights hit theaters, earning slightly more than the original.

Last year, Chan spoke with Den of Geek, and while he’s said in multiple interviews he’s done with big action films (he’s in his 60s), he’s in talks to return or join several major franchises, from Expendables 4 and Rush Hour 4 to Karate Kid 2 and yes, Shanghai Dawn. At the time, he just said “in talks” but according to Tracking Board‘s new report, MGM is actually now moving forward with the sequel to Shanghai Knights.
At this point, Owen Wilson and Jackie Chan are set to return with Jonathan Glickman producing. Glickman produced all of the Rush Hour and Shanghai films previously. The project still needs a writer so there’s no date yet on when Shanghai Dawn will begin shooting.

As for the other possible roles for Chan, Stallone reached out to him for bit parts in The Expendables 2 and 3, and again called his reps last year for Expendables 4. Chan turned the first two offers down because he wanted to more of a buddy action film, focusing on him and Stallone, rather than being one of many supporting characters with just a few minutes of screen time. He seems more interested in Expendables 4 however as Chan seemingly aims to return to more American films.

Given the increased importance of the Chinese film market, which looks to overtake the American box office in just a matter of years, bringing in recognizable superstar Chan could be more significant than ever to any major film’s international bankability. Chan wrote, directed, produced and starred in 2012’s Chinese Zodiac, which set records in China for being the highest-grossing action film and the second-highest-grossing film of all-time.