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Film production has long been plagued by the tedious and mind-numbing tasks of budgeting and scheduling. These soul-sucking endeavours drained the lifeblood of filmmakers, stifling their creative energy. But fear not, my passionate compatriots! A new era has dawned upon us, one where the shackles of traditional methods are shattered. Enter the stage, the formidable force of artificial intelligence (AI) in budgeting and scheduling, breathing life into the once lifeless aspects of filmmaking. Prepare to be captivated as we explore the seismic shift in the industry, where efficiency meets artistic prowess. 

The Chains of Traditional Torture

Oh, the wretched chains of traditional budgeting and scheduling! Endless spreadsheets, labyrinthine calculations, and exasperating revisions plagued filmmakers for aeons. Their souls withered as they drowned in a sea of figures, desperately seeking respite from the tedium. Alas, budget overruns,  misallocated resources, and agonizing production delays haunted their every endeavour. 

A Rebel Rises: AI-Powered Budgeting Software

Behold, the rebel that emerges from the ashes of frustration! AI-powered budgeting software, a  beacon of hope for the beleaguered filmmaker, revolutionizes the creative landscape. Tools like  Movie Magic Budgeting and Gorilla Budgeting wield the might of AI algorithms, banishing the shadows of manual calculations. With a symphony of data, they conjure comprehensive budgets that encompass the vast tapestry of production expenses. Cast salaries, crew wages, equipment rentals, and post-production costs intertwine seamlessly, empowering filmmakers to dance with financial prowess. 

The Liberation of Scheduling

No longer shall we succumb to the chaotic whirlwind of scheduling nightmares! AI-powered scheduling software, the saviour of order, strides into the fray. StudioBinder and Scenechronize unleash the power of machine learning, forging a symphony of organization. Through their digital might, they analyse the myriad factors that dictate shooting schedules. Location availability, actor schedules, and crew requirements become mere playthings, woven into a tapestry of optimization.  Filmmakers revel in the seamless flow of a well-orchestrated production, bidding farewell to the disarray of the past. 

The Oracle’s Wisdom: Real-Time Data and Analytics

Gaze into the depths of the AI-powered crystal ball, where real-time data and analytics hold court.  Filmmakers, armed with this divine knowledge, make informed decisions during the budgeting and scheduling labyrinth. Visual reports and charts dance before their eyes, revealing the secrets of cost drivers, potential savings, and areas where adjustments may be made. With a flick of their creative wands, they simulate scenarios, witnessing the financial ripples that permeate their visions. Through this data-driven enlightenment, they navigate treacherous waters, allocating resources with precision and safeguarding against financial tempests. 

A Tapestry of Collaboration

No longer shall the voices of the creative throng fade into the ether! AI-powered software breathes life into the tapestry of collaboration and communication. It beckons filmmakers to gather, unified,  upon a centralized platform. Here, all can contribute, all can partake in the grand symphony of 

creation. Changes made by one reverberate through the collective consciousness, ensuring unity amidst the creative storm. Miscommunications dissipate like smoke, errors become ancient relics,  and efficiency takes centre stage. 

The Indie Awakening

Listen closely, for the clarion call of AI-powered software resounds loudest in the halls of independent filmmaking. Here, where resources run thin and time tiptoes precariously, the transformative power of AI shines brightest. It grants independent filmmakers a secret weapon to secure financing, negotiate with investors, and breathe life into their dreams. With professional budgets and schedules in hand, they navigate treacherous waters with confidence. They defy the odds, leaving their mark upon the vast tapestry of cinema. 

The Future Unveiled

The march of progress knows no bounds, and the AI-powered revolution in budgeting and scheduling is no exception. We stand upon the precipice of a future where limitations crumble beneath the weight of human imagination. As AI technology evolves, it shall forge ever more comprehensive solutions, addressing its limitations with unwavering determination. Our journey has only just begun, my fellow travellers and the road ahead holds boundless promise. 

In the realm of film production, a revolution is underway as AI-powered software disrupts the traditional landscape of budgeting and scheduling. Filmmakers are no longer bound by the tedious and error-prone methods of the past. Instead, they embrace the transformative capabilities of AI  algorithms that streamline processes, unleash creativity, and foster efficiency. 

This transformative power of AI is particularly beneficial for independent filmmakers, who can now navigate their projects with confidence, negotiate with investors, and leave their mark in the industry. As AI technology continues to advance, its limitations will be addressed, propelling the industry towards a future where the fusion of human creativity and technological innovation knows no bounds. 

In this realm where efficiency meets artistic prowess, AI-powered software is shaping the future of filmmaking, empowering storytellers to bring their visions to life and leave an indelible mark on the cinematic landscape.

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Film production has long been plagued by

Global

It’s getting hot in Canada — and as the mercury rises, so too are tempers flaring on the road.

With more traffic over the holidays and long weekends, there is no shortage of road rage incidents across the country.

“There is an inherent increase in frustration while driving in the summer,” said Julie Christiansen, a registered psychotherapist in St. Catherines, Ont., and author of The Rise of Rage.

“It’s hot, people are tired. It’s taking longer to get to their desired destination.”

A video circulating on social media earlier this month saw a man in Brampton, Ont., spit onto another driver’s face as he accused him of changing lanes. The two men are heard hurling curse words and insults at each other in English and Punjabi.

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Click to play video: 'Surrey drive-thru road rage incident caught on camera'


Surrey drive-thru road rage incident caught on camera


Last month, Quebec provincial police arrested two people after an alleged road rage incident in the Montreal suburb of St-Eustache, Que., that left two others seriously injured.

In another road rage incident in June in Wilmot, Ont., one man pulled out a gun and is facing a lengthy list of charges, according to Waterloo Regional Police.

A Leger survey conducted last summer found that roughly 80 per cent of Canadian drivers said they witnessed road rage over the past 12 months, but only half admitted to engaging in them.

Across the border in the United States, injuries and deaths from road rage shootings are on the rise, research from Everytown for Gun Safety shows.

For Canada, the number of recent road rage incidents was not readily available, several local police departments said when contacted by Global News.

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“Things that potentially lead to road rage can include offences such as speeding, aggressive driving, or carelessness, for example, but those stats would reflect day-to-day measures, not specific to any one type of incident,” said Sgt. Melissa Kulik, of the Toronto Police traffic services unit.


Click to play video: 'Calgary shooting believed to be motivated by road rage: police'


Calgary shooting believed to be motivated by road rage: police


These incidents can come at a considerable physical, mental and financial cost, not only putting the person being challenged at risk but others around them, experts say.

From broken bones and concussions to mild traumatic brain injuries, there can be a lot of “inherent dangers” involved with these incidents, said Albert Klein, a partner at Samfiru Tumarkin LLP in Toronto.

“It can be very dangerous, unfortunately, when people are blinded by their own road rage, and sometimes they act very erratically if they’re going to drive their car into another car,” he told Global News in an interview.

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If it’s an intentional act that involves a criminal conviction, many times that means the person responsible will end up losing their vehicle insurance coverage, lawyers say.

Increased traffic congestion can lead to frustration, with people losing their temper — but more distracted drivers are also adding fuel to the fire, says one psychologist.

“We do know that distracted driving has gone up and that tends to frustrate other drivers and frustration goes hand in hand with aggression, so you could see how this could spill over,” said Tracy Vaillancourt, a University of Ottawa professor and president of the International Society for Research on Aggression.

The distraction stems from people using their phones and paying less attention on the road, which is why you’re more likely to see “erratic driving,” Vaillancourt said.

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But there are also other factors at play: such as poor time management, self-entitlement or narcissism, and anonymity.

“We tend to see people behave very poorly when they feel they’re more anonymous, when they don’t have eye-to-eye contact, and they don’t see the distress they’re causing in others,” Vaillancourt said.


Click to play video: 'Driver’s window smashed as Mississauga road rage incident is caught on camera'


Driver’s window smashed as Mississauga road rage incident is caught on camera


However, sometimes road rage can be an escalation of a prior dispute between two people who already know each other, said Daniel Michaelson, a partner at Neinstein Personal Injury Lawyers LLP in Toronto.

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Christiansen said there are four main reasons why people get angry: when a rule gets broken, a boundary is violated, expectations are not met, and your goal attainment is thwarted.

“All of those things happen when you’re on the road,” she said.

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Two years of COVID-19 lockdowns and polarization have also taken a toll, with less emotional regulation now than ever before and people just “letting it all hang out” Christiansen said.

“It seems to be more socially acceptable to just call people out, to insult them, to make really outrageous claims about them. And there’s no recourse for that.”

How to deal with road rage

Reducing the risk of a road rage encounter often starts inside your own vehicle.

Managing your time better so you’re not under pressure to get to your destination can help reduce stress while driving, Vaillancourt said.

Limit your distractions and if you feel like you were cut off, give the other person the benefit of the doubt and do not personalize it as much, she added.

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“Instead of immediately assuming the person had hostile intent, if we reframe it and recognize that maybe they just made a mistake, then we’re not going to get so offended by it.”


Click to play video: 'Etobicoke father in hospital with severe injuries following road rage incident'


Etobicoke father in hospital with severe injuries following road rage incident


Putting on some relaxing music, making sure your temperature in the car is regulated, and deep breathing are all helpful ways to keep you calm while driving, Christiansen said.

If you’re on the receiving end of the rage, Christiansen’s advice is to “just back off.”

“If you see that someone is driving erratically or they’re trying to antagonize other drivers, slow down, back off, get off that road. You do not have to engage.”

And if the situation escalates where your safety is threatened, call 911 immediately, Vaillancourt said.

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— with a file from The Canadian Press. 

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It’s getting hot in Canada — and

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Former NFL star Ryan Mallett has died. He was 35.

The White Hall School District in Arkansas, where Mallett worked as head coach of varsity football, first confirmed the athlete’s death on Tuesday, June 27, via their official Facebook page. 

“It is with great sadness that we share the loss of Coach Ryan Mallett. Coach Mallett was a beloved coach and educator,” the post read. “We ask that you remember his family, team, students, fellow coaches, and the White Hall School District staff in your prayers.”

The Okaloosa Country Sheriff’s Office first announced on Tuesday that a tourist had died in an apparent drowning offshore of Gulf Shore Drive in Destin, Florida. “A group of individuals were reportedly struggling offshore when a man went under,” their official Twitter page read at the time. “He was not breathing when lifeguards found and pulled him out. Tragically lifesaving measures weren’t successful.” 

The Sheriff’s Office later confirmed via Twitter that “the victim is identified as 35-year-old Ryan Mallett of Arkansas.” They added: “We send our heartfelt sympathies to his family, friends, and loved ones in his tragic passing.” 

Mallett, who played quarterback for the University of Arkansas, was drafted as a third-round pick by the New England Patriots in 2011 and served as backup to Tom Brady for four years. He was later traded to the Houston Texans before playing with the Baltimore Ravens from 2015 to 2017. 

Following news of his death, the Patriots shared a heartfelt tribute about their former teammate via Twitter. “The New England Patriots are deeply saddened to learn of the sudden and unexpected passing of former quarterback Ryan Mallett,” the team tweeted on Tuesday alongside a snap of Mallet in the signature uniform. “Our thoughts are with the Mallett family, his former teammates and all who are mourning his loss.”

J.J. Watt, who played with the Arkansas native on the Texans, also took to social media to honor his former teammate, tweeting, “Horrible news to read about Ryan Mallett. Gone way too soon. Rest In Peace brother.”

University of Arkansas’ athletic director, Hunter Yurachek, for his part, said the school “lost an incredibly special person” on Tuesday. “Our thoughts and prayers are with the family, friends and teammates of Ryan Mallett,” Yurachek tweeted at the time. 

Mallett played in 21 games, went 3-5 as a starter and compiled 1,835 passing yards, nine touchdown passes and 10 interceptions in the span of his NFL career.  

After his retirement from professional football in 2017, Mallet was hired at White Hall High School in 2022 after beginning his coaching career as an assistant at Mountain Home High School.

“I always knew I was going to coach,” Mallett said after being named head coach at White Hall, according to the Arkansas Democrat Gazette at the time. “It’s just natural for me. I understand it. I get how everything works, and then I just love football. You get to teach kids the right way at a young age, and that’s something I really enjoy.”

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Former NFL star Ryan Mallett has died.

Tech

Later this summer, Stitcher — one of the biggest podcast-listening apps — will be going silent after about 15 years. The Stitcher apps and web-streaming audio service will be shutting down on Aug. 29, 2023, according to a notice posted to its site Tuesday.

In the “Stitcher Farewell” notice, the service explains it this way: “SiriusXM, the owner of Stitcher, is focused on incorporating podcasts into its flagship SiriusXM subscription business. Subscribers can listen to podcasts within the SiriusXM app and will see an all-new listening experience later this year.”

The Stitcher name isn’t totally disappearing, though: The company said it “expect[s] to continue to operate our Stitcher Studios and Earwolf networks” that produce original podcast shows.

In most cases, according to SiriusXM, podcast fans will still be able to listen to ad-supported versions of shows that have been on Stitcher on other platforms.

The Stitcher Premium service, which cost $4.95/month (or $34.99/year) and provided thousands of podcasts to listen to without ads, also is being discontinued. Hosts and creators of podcast exclusively on Stitcher Premium “will determine availability and accessibility of their shows,” the company’s website says. “To stay updated on the availability of their content, we recommend following the hosts/creators on social media or subscribing to their newsletters.”

In a memo to SiriusXM staff Tuesday from Joe Inzerillo, chief product and technology officer, John Trimble, chief ad revenue officer, and Scott Greenstein, chief content officer, the trio said the strategic reason for the Stitcher shutdown is to incorporate podcasts “more holistically into our flagship SiriusXM subscription service.”

“Podcasts are an important part of both our subscription and advertising strategies,” they wrote. “The scale and reach of our widely distributed podcasts has been and remains a crucial accelerant for our advertising sales business, while incorporating podcasts more holistically into our flagship SiriusXM subscription service will help to drive further growth. As a result, we have made the decision to sunset our standalone podcast listening app as we increase our focus on these priorities.”

The execs also wrote that the Stitcher team is “now fully integrated into SiriusXM.” In addition, they said, “On the content side, through our reorganization earlier this year, which moved podcast programming alongside comedy and entertainment, we are able to give legendary podcasters a new platform on SiriusXM while also introducing the biggest stars on our roster to podcasting.”

There will not be layoffs associated with the shutdown of the Stitcher app, according to sources familiar with the company. In March, SiriusXM announced it was eliminating 475 jobs, representing about 8% of its headcount. CEO Jennifer Witz cited economic uncertainty and a need to operate with “greater agility and efficiency” for the layoffs.

Stitcher first bowed its podcast app in 2008, and the company has changed hands several times since then. SiriusXM acquired Stitcher in 2020 in a deal worth up to $325 million from E.W. Scripps (whose Midroll Media unit bought Stitcher for $4.5 million four years earlier).

As of Tuesday (June 27), SiriusXM said it will turn off automatic renewals of all Stitcher Premium subscription plans. Where applicable, refunds will be issued to Stitcher Premium subscribers who purchased a plan directly from Stitcher via the original payment method. Those who purchased access on the Stitcher app through the Apple or Google app stores will receive a refund from their respective billing platform. “Refunds are expected to begin to be processed on August 29th,” the Stitcher shutdown notice says, adding that customers should allow up to 60 days to receive refunds.

The SiriusXM Podcast Network remains unchanged. The audio content and advertising division comprises Stitcher Studios (with shows including “Let’s Talk Off Camera with Kelly Ripa,” “Sounds Gay,” “Sound Detectives” and an upcoming LeVar Burton children’s series); Team Coco (“Conan O’Brien Needs a Friend,” “Significant Others”); Earwolf (“How Did This Get Made?”); and SXM Podcasts (which has an overall deal with Kevin Hart’s Hartbeat for radio and podcasts).

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Later this summer, Stitcher — one of

Video

EXCLUSIVE: Victor Ginzburg’s timely sci-fi horror Empire V, which is described as a social parody of Russia being controlled by vampires, world premieres at Montreal’s Fantasia Fest this July.

Ahead of the debut, Deadline can reveal a first trailer for the film which has gained fresh resonance following the revolt in Russia over the weekend by Yevgeny Prigozhin’s Wagner mercenary group.

Based on a 2006 satirical novel by Victor Pelevin, the film revolves around a 19-year-old Muscovite who is turned into a vampire, propelling him into an elite and powerful echelon of society that has controlled humanity since time immemorial.

Pavel Tabakov plays the lead role with the cast also featuring Russian rapper Oxxymiron, whose anti-war stance led to him being declared a “foreign agent”, alongside Taya Radchenko, Miron Fedorov and Vera Alentova.

The film is produced by America’s Heartland Films and Russia Kvadrat Film Company and Andrey Trubitsyn, Maria Kapralova, Alexei Tylevich and James Steele.

Sony had been due to release the film in Russia on more than 1,800 screens in the first quarter of 2022, but the government refused to release its distribution permit, effectively banning the film.

Reel Suspects is handling international sales on the title.

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EXCLUSIVE: Victor Ginzburg’s timely sci-fi horror Empire

Entertaintment

Denmark’s new streaming levy could have “unintended consequences,” claims a European video-on-demand body.

Earlier this month, Denmark’s political parties broadly agreed the basis of the ‘Cultural Contribution Act.’ This confirmed streaming such as Netflix and Viaplay would be subject to a basic levy rate of 2% of their Danish revenues, with a 3% surplus applying to those who do invest less than 5% of the local turnover on content. That replaced an initial plan to charge a flat 6% rate.

The cash raised will go towards financing new Danish films and TV shows through the Danish Film Institute and another public body.

The bill will be presented later this year, but the European VOD Coalition warned that its members are “concerned about the unintended consequences of the Danish government’s revised Cultural Contribution Act.” 

The Coalition represents the European interests of Disney, NBCUniversal, Netflix, Sky, Starz, Roku, Warner Bros Discovery and Viaplay among others.

“A levy will make it harder for streaming companies to deliver a compelling and attractive offering to Danish viewers in an already highly competitive media market,” its statement added. 

“We need a fair and proportionate regulatory regime that supports investment, rewards the risk for ambitious productions and incentivises partnerships.”

Denmark’s creative community are broadly in agreement the country’s needs a streaming levy to stay competitive and ensure the likes of Netflix, Prime Video and Viaplay continue to invest in local productions. The streamers have been accepting of a tax while not supporting it, but the reality will only become known once the law is in place.

“We believe that a streaming levy will harm Danish content creation, instead of strengthening the sector as intended,” Filippa Wallestam, Viaplay’s Group Chief Commercial Officer for the Nordics told Deadline recently. “It will lead to fewer investments, increased uncertainty and reduced content diversity.”

Last year, the country experienced a damaging streamer commissioning freeze after the Creative Denmark union, which represents directors, actors and others, demanded a new countrywide framework for digital rights. Producers, who initially supported the union, later admitted “greed” had derailed the negotiations and it took most of the year for the issue to be resolved. Netflix, TV2 and Viaplay, the key streamers involved in the two, have now signed new contracts but commissioning is estimated to be down by as much as 50% overall.

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Denmark’s new streaming levy could have “unintended

Movies

The Oscar-winning actor Kevin Spacey is scheduled to go on trial in London on Wednesday, facing multiple allegations of sexual assault.

Since the #MeToo movement came to prominence six years ago, a number of high-profile men have been accused of misconduct, yet Mr. Spacey’s case is one of only a few to reach a British courtroom.

The actor, 63, has already pleaded not guilty to all charges. This month, in an interview with Zeit Magazin, a German magazine, he said he expected to be found innocent, after which he would resume acting.

The trial at Southwark Crown Court is scheduled to last four weeks. During that time, the courthouse is likely to be filled with reporters and celebrity watchers following the case.

Here’s what you need to know.

Mr. Spacey is accused of sexually assaulting four men in England between 2001 and 2013. For much of that period, Mr. Spacey was the artistic director of the Old Vic theater, one of London’s most acclaimed playhouses.

Last June, Britain’s Crown Prosecution Service charged Mr. Spacey with four counts of sexual assault against three men, as well as another of causing a person to engage in penetrative sexual activity without their consent.

A few months later, in November, the prosecutors authorized seven further charges against Mr. Spacey related to another complainant. Those included three counts of sexual assault, three of indecent assault and one count of causing a person to engage in sexual activity without consent.

Both sets of charges will be considered in this month’s trial.

Anna Bradshaw, a British criminal lawyer, said in a telephone interview that the case will look different from an American trial. In Britain, legal professionals called barristers argue cases in court while wearing the traditional garb of white wigs and black gowns.

The trial will not be televised, Ms. Bradshaw added, because cameras are rarely allowed in British courts. (Instead, specialist artists sketch the scene.)

The complainants will also not be publicly identified, Ms. Bradshaw said, adding that this rule was in place to protect accusers’ privacy and encourage victims of sexual assault to report incidents to the police. They will likely give evidence, and be cross-examined, “via a video-link, or, in court, possibly from behind a screen or curtain,” Ms. Bradshaw said.

During the four-week trial, the prosecutors will first outline their case to the 12-person jury, then Mr. Spacey’s team will make its defense.

One of the offenses carries a maximum sentence of life imprisonment. Others also come with potential jail terms. Under British law, judges have some flexibility to alter sentences.

If there is a guilty verdict, the judge would normally hold a separate hearing to announce the sentence at a later date, Ms. Bradshaw added.

In two hearings over the past year, Mr. Spacey pleaded not guilty to the charges against him. Last June, Patrick Gibbs, Mr. Spacey’s legal representative, told a courtroom that the actor was determined to establish his innocence.

In Britain, where it is an offense to publish information that may bias a jury, defendants like Mr. Spacey face some restrictions in using the news media to make their case before a trial.

To avoid breaking British law, Mr. Spacey did not discuss the case in the Zeit Magazin article, apart from stressing his innocence. But he said he knew of directors who wanted to work with him once the trial ended. “I know that there are people right now who are ready to hire me the moment I am cleared of these charges,” he said.

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The Oscar-winning actor Kevin Spacey is scheduled

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Some of Hollywood’s biggest stars are urging their union to hold the line in contract negotiations and signaled strong support for a strike if necessary.

In a sharply worded letter to the leaders of SAG-AFTRA, about 200 members of the performers union said they would support a strike if negotiators could not secure a “transformative deal” on a new film and TV contract.

The letter was signed by several high-profile members, including Meryl Streep, Glenn Close, Jennifer Lawrence, Amy Poehler, Rami Malek and John Leguizamo.

“A strike brings incredible hardships to so many, and no one wants it,” the letter said. “But we are prepared to strike if it comes to that.” They added: “This is not a moment to meet in the middle.”

The letter appeared to be in response to an upbeat video message posted Saturday by SAG-AFTRA President Fran Drescher in which she described contract talks with the studios as “extremely productive,” appearing to suggest that a deal was near and that Hollywood might avert a second strike.

Writers have been on strike since May 2.

“We are concerned by the idea that SAG-AFTRA members may be ready to make sacrifices that leadership is not,” the letter said.

“This is an unprecedented inflection point in our industry, and what might be considered a good deal in any other years is simply not enough,” they wrote.

A spokesperson for SAG-AFTRA declined to comment.

The union and the studios have until Friday midnight to agree on a new contract. SAG-AFTRA has been in talks with the Alliance of Motion Picture and Television Producers since June 7.

The union’s members have already voted overwhelmingly to grant their leaders authority to call a strike if they can’t reach a deal, though it’s possible negotiations could continue even after the contract deadline expires.

The actors who signed the letter said they are seeking a “seismic realignment” of minimum pay to combat inflation, an increase in streaming residuals, as well as curbs in the process of self-taping in auditions and protections from artificial intelligence, which they view as a threat to their livelihoods.

“We believe that, if we settle for a less than transformative deal, the future of our union and our craft will be undermined, and SAG-AFTRA will enter the next negotiation with drastically reduced leverage,” the letter said.

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MCU

When Natasha Romanoff finally got her chance to take center stage in 2021’s Black Widow, Marvel was determined to give the project to a female director. The studio felt that a woman would ensure that the character was fleshed out and handled properly.

Although Cate Shortland would eventually helm the film, Marvel also met with Argentine director Lucrecia Martel.

Lucrecia Martel

Photo: IMDB

Best known for her films Headless Woman and Zama, Martel was excited to meet with the studio, never imagining that she would be on the shortlist of potential directors.

“I never thought that would be possible,” she said.

Black Widow

Photo: Disney Plus

Ultimately, Martel did not end up working on Black Widow. In fact, the director says she never even saw the film.

“No, no, no. I didn’t see ‘Black Widow.’ I tried to,” said Martel.

Martel’s Criticism Of Marvel

While she may have not seen Black Widow, the director has seen other Marvel films but walked away unimpressed.

“It turns out some of the Marvel films are available on planes so I’ve seen a few. I find the sound in them is absolutely in very poor taste, the visual effects, and the sound of the effects.”

Avengers

Photo: Marvel

“It’s the selection of the sounds that they’re connecting to the effects, which is actually very ugly. And the way the music is used is actually horrible,” Martel further explained.

“I Would Love To  Make A Film With Them”

Despite her criticism of the studio, Martel insists that she would like still like to collaborate with Marvel, albeit on her own terms.

“I would have loved to make a film with them but I would have had to provide something that I would like to see in that world,” she explained.

Based on Martel’s comments, I wouldn’t hold my breath that we will see the director lead a Marvel film. Then again, anything is possible.

(Marvel)

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DCU

Warning: This article contains SPOILERS for The Flash from the outset.



Director Andy Muschietti has revealed some intriguing details regarding one of the more surprising cameos in The Flash. Speaking with The Playlist, the filmmaker revealed that, and here’s your final SPOILER warning, Oscar winner and Hollywood icon Nicolas Cage filmed his cameo as Superman in person, with the actor even donning a brand-new superhero suit.

“We talked with Nicolas, and we decided to shoot him in his suit. And so, we built the suit with the same costume designer that built the suit for the unproduced Superman Lives, which is a movie that would have been great, but nobody will see because it wasn’t made.”

The fact that Cage was there in the flesh begs the question, why does the scene look like it’s fully CGI? The finale of The Flash finally allowed Cage to fulfill his long-held dreams of playing the Man of Steel, dreams that almost came to fruition in the late 1990s with the failed Tim Burton helmed DC movie, Superman Lives. Thus, Cage at last dons the suit, sports the long hair, and battles a giant spider, all things that Muschietti was delighting to bring to the big screen.

MOVIEWEB VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT

“The excitement was shared with Nicolas. And Nicolas is such a kind guy, and I think he shared the enthusiasm for bringing back that movie that was never done – even for a couple minutes in our movie. And yeah, the magic of the multiverse is expressing that this universe exists, even though it’s a movie that nobody saw. So, we’re kind of saying that there is a Superman Lives.”

RELATED: The Flash: Every DC Character from Another Movie That Appears in the Film



Why Do The Flash Cameos Look So… Off

Warner Bros. Pictures

Cage’s cameo as Superman in The Flash is arguably rather niche, but Muschietti doesn’t mind, with the director far too excited to see the actor in a red cape to worry about whether anyone would be left confused.

“Yes, [we were nervous], but the excitement of doing it overrode everything. It’s like, of course, someone said, ‘What about the people that don’t know that Nicolas Cage [was going to be Superman]. Wouldn’t it be a funny moment to see Nicolas Cage out of nowhere dressed as Superman?’ And our answer was, ‘We don’t care!’”

Cage’s Superman comes as part of a cavalcade of controversial cameos towards the end of The Flash, including the likes of Christopher Reeve, Adam West, and George Reeves, all of which look like glaringly unrealistic CGI. Of course, most of these actors are no longer with us, but with the confirmation that Nicolas Cage physically filmed his cameo, many will be left questioning why his appearance is so wonky.

For his part, Muschietti has stated that everything looking so…off was intentional. “The idea, of course, is…we are in the perspective of the Flash,” the filmmaker explained. “Everything is distorted in terms of lights and textures. We enter this ‘waterworld’ which is basically being in Barry’s POV. It was part of the design so if it looks a little weird to you that was intended.”

Directed by Andy Muschietti from a screenplay by Christina Hodson, and starring Ezra Miller, Sasha Calle, Michael Shannon, Ron Livingston, Maribel Verdú, Kiersey Clemons, Antje Traue, and Michael Keaton, The Flash is out now in theaters.

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Warning: This article contains SPOILERS for The

Comics

Four more titles have been added to the Sega Mega Drive / Genesis library on Nintendo Switch Online.

The newest additions, as seen in the trailer below, are Ghouls ‘n Ghosts, Crusader of Centy, Landstalker and The Revenge of Shinobi, bringing the total number of Mega Drive / Genesis games in the service to 44.

Ghouls ‘n Ghosts was originally released in arcades in 1988 and was the sequel to Capcom‘s Ghosts ‘n Goblins.

The Mega Drive / Genesis port was handled by Sega (and programmed by Yuji Naka), and at the time was considered the most accurate home version of the game.

The player controls Arthur, a knight who has to rescue a princess from the evil ‘Prince of Darkness’ (who was Satan in the arcade version).

Crusader of Centy (which was known in Europe as Soleil) is an action RPG where you play as a boy called Corona, who inherits his late father’s sword for his 14th birthday.

Corona has to not only protect the people of Soleil Town from the monsters surrounding it, but eventually travel through time to find out why they started attacking humans in the first place.

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Landstalker is an isometric action-adventure game in which players control Nigel, a treasure hunter who teams up with a fairy called Friday to find the legendary treasure of King Nole.

Finally, The Revenge of Shinobi is the second game in the Shinobi series and sees ninja Joe Musashi hunting down the Neo Zeed criminal organisation in an attempt to get revenge on them for killing his master and kidnapping his fiancée.

The Switch Online Expansion Pack adds Mega Drive and N64 games to the existing NES and SNES libraries available as part of the standard membership tier.

Players can also buy a separate Mega Drive controller that connects to the Switch for a more authentic feel while playing.