The Official "Behind The Scenes" TV/Movie Thread

Collector Freaks Forum

Help Support Collector Freaks Forum:

This site may earn a commission from merchant affiliate links, including eBay, Amazon, and others.
The Transformers: The Movie (1986) Trivia

This was Orson Welles' final film before his death on October 10, 1985 at the age of 70. He recorded his lines five days prior, on October 5.

This was Scatman Crothers' final film before his death on November 22, 1986 at age 76.

This film is considered the "bridge" between the second and third seasons of The Transformers (1984), as several third-season characters are introduced here and several first-season characters are killed or altered (e.g. Megatron to Galvatron).

Director Nelson Shin and story consultant Flint Dille have confirmed that Orson Welles had a hard time recording his lines due to his failing health. Most of his lines included labored breathing and heavy wheezing. Shin considered most of Welles' dialogue unusable, but put the recordings through a voice synthesizer to give Welles' voice a clearer, more ominous tone. According to Shin, Unicron's on-screen voice is an enhanced, synthesized version of Welles' voice.

Cybertron's third moon, which exists solely due to an editing error in this movie, would reappear on Beast Machines: Transformers (1999), still bearing Unicron's claw-marks.

During production, the idea of transforming the planet Cybertron into a robot to battle against Unicron came up, and was quickly dismissed. The Marvel Comics Transformers issues, which had a separate storyline than the cartoon, had Cybertron as the planet form of the Transformer god Primus, whose backstory involved warring against the evil Unicron. There was no connection between the discarded script and the comic series, different authors came up with the same general idea independently.

The negatives for the matted widescreen version of the film were either destroyed or lost, and for a time only the VHS full-screen version of the movie remained. The North Carolina School of the Filmmaking in Winston-Salem carries a print of the movie assembled from different reels of other prints of the movie found in its archives. The pieced-together print is in good condition. This should be noted that this widescreen version of the movie was achieved by "matting down" the original full-screen animation, essentially chopping off the top and bottom.

This movie takes place 20 years after the end of The Transformers (1984) animated series' second season.

Spike was originally to be absent from the movie, along with the other former human characters. In the finished script, he received a crucial, if small role.

One of the early scripts included a dragon-based Autobot combiner that would have fought Devastator. In the finished story, we never get to see just what lead to Devastator's defeat.

Although a toy was not released until 2003, an action figure of Unicron was designed, but the prototype had flimsy arms and a faulty voice-chip, and was scrapped.

In 2010, an early draft of the script got into the hands of Transformers fans. It revealed that the plot went through many severe changes during writing, including different characters and a more violent ending.

Unicron's original name in early drafts was Ingestor, while Unicron's planet form would have been an actual planet. Ingestor was to be a mysterious being in control of the planet, which, upon transforming into a robot, would have had many organic-looking features, including long hair. In the final script, these two were mushed together into a single character, named Unicron, who is also a planet (though a mechanical one) which can turn into a gigantic robot. Many of his organic features were kept - such as his metallic mustache, goatee, and stomach (which resembles the abdominal muscles of a human) - however he lost his "hair".

When asked about his role, Orson Welles couldn't remember his character's name, and described his role as "a big toy who attacks a bunch of smaller toys".

One of the original demands of the Transformers toyline and cartoon series was that no female Transformers could appear, as the toys were marketed strictly towards boys. However, writer Ron Friedman fought hard to include female robots in the Transformers lore, as his daughter was a huge fan of the franchise. This lead to the creation of Arcee, a female Autobot debuting in this movie, as well as a number of other female characters introduced during season 2 of The Transformers (1984). Ironically, despite being one of the movie's feature characters, no toy of Arcee was produced during the entirety of the original Transformers line, though at least one rejected prototype was designed. Arcee became the most famous female character in the Transformers brand, and numerous incarnations of her appeared in various other cartoons, comics, movies and toy series, but this was only in 2014, 28 years after her introduction, that Hasbro finally released a toy based on this movie's design.

Story editor Flint Dille once described the movie's script as "a Frankenstein of different drafts and ideas and people", because of how many hasty and incoherent rewrites it had during production.

Stan Bush's song "The Touch" was inspired by a line in Iron Eagle (1986) and was originally written for Cobra (1986).

(at around 26 mins) Unicron's roar when he finds out the Matrix has been passed on to Ultra Magnus is that of The Hulk from The Incredible Hulk (1982) animated series.

Nearly most of the new characters that appear in this movie were newly designed. The Hasbro toys were based on the movie's character designs. The exception was Ultra Magnus, who already had a toy in the Japanese "Diaclone" line. His character model was based on the toy, and given new colors.

The Matrix of Leadership never came up in the earlier drafts of the script, yet it is the main driving force behind the finished movie's plot.

One potential plot proposed by writer and story editor Flint Dille and creative director Jay Bacal would have involved Optimus Prime embarking on a journey to discover the origin of the Transformer race, as well as find out that their home planet is actually a giant robot itself. Using the Matrix, the planet Cybertron would have transformed into a robot to face off against the evil Transformer planet Unicron, a pawn of the Quintessons. Their script was written in response to the original movie draft which they saw as incoherent, but was discarded shortly after presenting it to the executives. However, some elements of their script did turn up in the finished film, and a drastically re-imagined origin story for the Transformers was detailed in the cartoon's third season - the Quintessons, minor one-scene villains in this film, were re-imagined as the creators of the Transformers and had no ties to Unicron.

The soundtrack to this movie has become something of a collector's item, on the format of compact disc in particular.

In a bizarre kind of way, this could be said that the Decepticon 'Shockwave' appeared in two movies in 1986, the other being Aliens (1986). In the MedLab scene, just before Ripley reaches out to hug Newt after setting off the fire alarm, there is a futuristic piece of medical apparatus with three objects handing down off of it that can be briefly seen in the foreground. These objects are actually three Transformers toys, namely the Decepticon 'Shockwave' made by Hasbro in 1985 (though it's possible that the toy might even be the earlier 'Galactic Man' sold by Radio Shack). The toys have been spray-painted a dull silver colour and are displayed in their laser gun 'mode', but with each of the robot toy's arms (i.e. the laser gun's barrel) split apart. In this 'semi-transformation' the toy is made to look looks kind of like a futuristic grasping tool or perhaps even a laser scalpel.

(at around 19 mins) "The Touch", the song playing during a montage, is also one of Dirk Diggler's singles from Boogie Nights (1997). He was played by Mark Wahlberg, who later played Cade Yeager in Transformers: Age of Extinction (2014).

According to John Moschitta Jr., Orson Welles was eating everything at the buffet table while they were recording for the movie.

The 2006 comic adaptation reveals that Omega Supreme and the other combiners were fighting each other outside the Ark. Also in this adaptation are the deaths of Shockwave and Beachcomber (though he lives in the cartoon). For the combiners, this can be justified since they didn't exist when the script was written.

The movie was produced at the same time as G.I. Joe: The Movie (1987), by the same company. It had been agreed that both movies would suffer the loss of their lead heroes, Optimus Prime and Duke. Production started on G.I. Joe first, but Transformers ended up being completed and released first. Optimus Prime's death sparked a huge amount of controversy, causing the writers to change Duke's death to a coma. G.I. Joe was released direct to video. Had that movie been released first, Optimus Prime might have survived.
 









( ^This is an excerpt from Anderson's 31 min. short he made in 1988 when he was only 17 yrs old. )


“You might own those tapes, but the magic in those tapes is ours”

Dirk and Reed record "You Got the Touch" at Sound City Studios in Van Nuys. This is the same studio where Rick Springfield recorded "Jessie's Girl" - later heard during the drug deal scene on Rahad's mix tape.

During his attempt at a singing career, Dirk records a cover of "The Touch," which originally appeared in The Transformers: The Movie (1986) sung by Stan Bush. Mark Wahlberg would later appear in Transformers: Age of Extinction (2014) and Transformers: The Last Knight (2017).

"The Touch" by Stan Bush was released in 1986. This is 5 years after Dirk's recording session.
 



Do You Have ‘The Touch’? Learn the Bizarre History of the Greatest Transformers Song Ever

.....Last week, the Transformers Hall of Fame — which is, believe it or not, a real thing — inducted two fictional robots, but only one human: a 60-year-old Los Angeles resident named Stan Bush. When the emcee uttered that human’s name, cheers and applause erupted from the throngs of Transformers fans in the audience at the Pasadena Convention Center. Bush was brought on stage and he wore a grin of elation and surprise. “You’re the best,” he said, gesturing to the crowd. “You got the Touch!”....That capitalization is intentional, because Bush wasn’t referring to just any touch. He was talking about the Touch: a metaphorical blessing of strength that is the central topic of a song Bush wrote and recorded nearly 30 years ago, a power ballad called, simply, “The Touch.” It’s undoubtedly the greatest piece of music to come out of the Transformers franchise, and it’s had a truly bizarre pop-culture journey....

....Even if you’re not a Transformers diehard, there’s a very good chance that you’ve heard this strange musical artifact.....the track originally accompanied 1986’s animated, feature-length The Transformers: The Movie. In fact, it’s much more likely that you visually associate that song with the way it was used in the film (or the way it was used in Paul Thomas Anderson’s Boogie Nights, which we’ll get to in a minute). It provides backing music for a knock-down-drag-out between Optimus Prime and Megatron — the show’s paternalistic hero and bitter villain. It’s sublimely ridiculous and instantly memorable...

... Bush says he had never even heard of the Transformers until after the song was already finished. Bush had written it with visions in his head of other iron bodies: Sylvester Stallone and Lou Gossett Jr. In the mid-’80s, Bush was a musician and guitarist with a couple of albums to his name and no breakout hit. Inspiration struck when Bush and the song’s co-writer, Lenny Macaluso, found themselves discussing Iron Eagle, a better-off-forgotten Gossett Jr. vehicle about jet pilots. Bush recalled the origin story to me in an interview: “There’s a scene in the movie where Gossett turns to this young pilot and says, ‘Kid, you’ve got the touch,’ and we were like, Yeah! What a great song idea!”

.....They wanted to write something anthemic enough to meet one goal.....“We wrote the song with the Stallone movie Cobra in mind,” Bush said in his amiable southern drawl, picked up during his childhood in northern Florida. “We wanted to get it on the soundtrack. But the record label, they got it in the Transformers movie instead. We thought, What in the hell is that? An animated movie about robots? Really?”

....Bush’s career then encountered a bumpy few years. He released five albums that received little to no attention. “The ‘80s rock thing had fizzled out with the grunge movement,” Bush recalled with a sigh. In 1997, he had the boon of winning an Emmy for “‘Til I Was Loved by You,” a song he recorded for the TV show Guiding Light. But no matter where he thought he was heading, it seemed to him that “The Touch” was just a distant, decade-old memory.....That’s when the song got an extremely high-profile second chance through the combined efforts of Mark Wahlberg and Paul Thomas Anderson. In 1997, Anderson released Boogie Nights, his critically beloved tale of the rise and fall of Dirk Diggler, a fictional **** star. Anderson had been fascinated by “The Touch” since its early days. In 1988, he had made an extremely low-budget early version of Boogie Nights, a half-hour-long piece called The Dirk Diggler Story. In it, he’d depicted Diggler attempting to branch out into music by (terribly) performing “The Touch.” When it came time to make the big-screen version nearly a decade later, Anderson kept the scene almost entirely intact.....

....But then came the great change, something Bush could never have anticipated: the high-profile 2007 reboot of the Transformers franchise at the hands of Michael Bay. That’s when Bush embarked on an odd, unprecedented attempt at recapturing his cinematic glory — with varying degrees of success....In 2007, he rerecorded “The Touch” (with almost identical instrumentation). He says it was at the behest of Paramount, the studio behind the movies, and that they were planning to put it on the official soundtrack. I contacted Paramount and they couldn’t independently confirm that, but an email thread Bush showed me seems to suggest that there was at least some communication with executives. Either way, Bush was left in the lurch: The song never made it into the movie or the soundtrack.....

.....“When Paul Thomas Anderson sent me the song, he actually sent me the original, along with the lyrics, and I was like, ‘This is really bad,’” Wahlberg said on the show. “For Boogie Nights, it was an intentionally terrible song. But I don’t think it was for the original Transformers.... .”


Do You Have ‘The Touch’? Learn the Bizarre History of the Greatest Transformers Song Ever
 






Billy & Billie is an American romantic comedy drama television series created by Neil LaBute. It premiered on March 3, 2015 on DirecTV's Audience Network. The series stars Adam Brody and Lisa Joyce. The show ended on March 15, 2016 with a one hour special as its second season.

Premise - Having never really liked each other, estranged step-siblings Billy and Billie find themselves in bed together after a drunken night. Now they have to deal with their developing feelings for each other, as do their upper-class New York family and friends.

Critical response - On review aggregator Rotten Tomatoes, Billy & Billie holds an approval rating of 100% based on 11 reviews, with an average rating of 7.5/10. The website's critical consensus reads, "LaBute's sharply-written dialogue and exceedingly likeable step-sibling central characters in Billy & Billie will have you chuckling while expanding your horizons within the rom-com genre." On Metacritic, it has a weighted average score of 68 out of 100, based on 6 critics, indicating "generally favorable reviews"

All season 1 episode titles are named after tracks on Nirvana's "Nevermind" album. ("Endless, Nameless" is the hidden track on that album.)

The first scene of every episode takes place in a bedroom.

Cancelled after only the first season due to scheduling issues.

Starring
Adam Brody
Lisa Joyce
Gia Crovatin
Phil Burke
Li Jun Li
Jake Lacy
Jan Maxwell
and Victor Slezak

No. of seasons 1
No. of episodes 11
Running time 25 minutes
Original network Audience Network
Original release March 3, 2015 – March 15, 2016
 



SEASON 1 Billy & Billie
100% TOMATOMETER
11 Reviews

96% AUDIENCE SCORE
50+ Ratings

Billy & Billie Season 1


TV Review: Neil LaBute’s ‘Billy & Billie’

On the Neil LaBute scale of interpersonal dysfunction, “Billy & Billie” – his new DirecTV series, about a romance (if you can call it that) between two stepsiblings...The series takes some getting used to in part because of the way it begins, as we meet Billie (Joyce) and Billy (Brody) in morning-after mode, each clearly feeling a bit comfortable and ambivalent about what transpired....Granted, as the series progresses the second-guessing seems a little more pronounced – or overt – for Billie, who keeps lashing out at him, than the more restrained Billy, who works at a magazine and, if the local diner’s waitress is any indication, has no problem finding women eager to bed him. (Since they’re stepsiblings, nobody can blame the too-cute title and those sound-alike names on their parents.)

Even in more laid-back mode than his more biting works, LaBute inevitably delivers plenty of tart lines, and populates this indie-film world with the usual assortment of miscreant characters, including Billy’s idiotic, ***-starved coworkers....Still, this is a decidedly narrow construct, seemingly made possible as much by its low-key approach and modest budget (most scenes just involve two people sitting and talking) as its merit. There’s also such a chilliness to the interactions that while there’s some debate and uncertainty over whether the protagonists will wind up together....

That said, the show represents a credible twist on the familiar romantic-comedy notion of characters being drawn to each even when they shouldn’t be, assuming that viewers can get past the “ick” factor of Billy introducing Billie as his sister before she corrects him....“Love is relative” is the coy marketing line, which at least serves as a mild improvement over “Love means never having to say you’re sorry.”


https://variety.com/2015/tv/reviews/tv-review-neil-labutes-billy-billie-1201443984/
 






Black Sails is an American historical adventure television series set on New Providence Island and written to be a prequel to Robert Louis Stevenson's 1883 novel Treasure Island. The series was created by Jonathan E. Steinberg and Robert Levine for Starz..... The debut on cable television followed a week later on January 25, 2014..... On July 20, 2016, Starz announced that the series' fourth season would be its last; the season premiered on January 29, 2017, and the series concluded on April 2, 2017.

Black Sails is set in the early 18th century, roughly two decades before the events of Treasure Island, during the Golden Age of Piracy.....Feared Captain Flint brings on a younger crew member as they fight for the survival of New Providence island. According to the first episode, "In 1715 West Indies, the pirates of New Providence Island threaten maritime trade in the region. The laws of every civilized nation declare them "hostis humani generis", enemies of all mankind. In response, the pirates adhere to a doctrine of their own....war against the world." Real life pirates who are fictionalized in the show include Anne Bonny, Benjamin Hornigold, Jack Rackham, Charles Vane, Ned Low, Israel Hands and Blackbeard.

Cast
Toby Stephens as James McGraw/Flint
Hannah New as Eleanor Guthrie
Luke Arnold as "Long" John Silver
Jessica Parker Kennedy as Max
Tom Hopper as William "Billy Bones" Manderly
Zach McGowan as Charles Vane
Toby Schmitz as Jack Rackham
Clara Paget as Anne Bonny
Hakeem Kae-Kazim as Mr. Scott
With Rupert Penry-Jones as Lord Thomas Hamilton
And Ray Stevenson as Edward "Blackbeard" Teach

.... Robert Lloyd of the Los Angeles Times said, "Black Sails is a pirate treasure. The Starz series vividly depicts the daily life of pirates.".....Tom Long of the Detroit News commented "Alliances are made and broken, power shifts go this way and that, blood is spilled, and wenches keep wenching. It's oddly addictive, and the cast—made up mostly of British, Australian, and Canadian actors—is as sharp as you'd expect from pay cable"....The second season holds a 100% rating on Rotten Tomatoes, based on 8 reviews, with an average rating of 8.7/10. Neil Genzlinger of The New York Times said, "Starz knows the formula for these costume-heavy action dramas from experience with shows like Spartacus and Camelot. And that formula is executed with particular skill in Black Sails, thanks to some strong performances and an exploration of the consequences of greed ....."....Season four holds a 80% rating on Rotten Tomatoes based on 10 reviews, with an average rating of 7.8/10....
 



Black Sails (2014) Trivia

Chris Larkin (Berringer) and Toby Stephens (Flint) are brothers. Their parents are Dame Maggie Smith and Sir Robert Stephens. Anna-Louise Plowman (Mrs Hudson) is Toby Stephens's wife.

While this serves as a prequel to "Treasure Island," the characters of Captain Charles Vane, Jack Rackham, Edward "Blackbeard" Teach, Israel Hands and Anne Bonny were actual pirates in history that operated in the Caribbean during the Golden Age of Piracy.

Jack Rackham originally came up with the commonly known "Jolly Roger" flag design that is shown in the show.

Captain Flint's ship "The Walrus" was actually built on set for the show.

The musical instrument heard in the opening credits and through much of the soundtrack is a hurdy-gurdy. The hurdy-gurdy is a bowed stringed instrument, like a violin, but the bow is a rosined wooden wheel that is turned by a crank. There can be anywhere from three to six strings with some of the strings acting as drone strings. That is what makes the buzzing sound. The hurdy-gurdy dates as far back as the Middle Ages.

Long John Silver was in Treasure Island and lost his leg from a broadside on Capt. Flint's ship. Also Long John Silver's parrot's name was Captain Flint.

Louise Barnes, who plays Miranda Barlow, and Nick Boraine, who plays Peter Ashe, are married in real life.

Roland Reed replaced Jannes Eiselen as Dufresne in Season 2 after Eiselen was diagnosed with brain cancer, and passed away in 2016.

In real life, Anne Bonny was first married to Jack Bonny, then to Jack Rackham.

This show has a lot of actors cast as lords and ladies, but the cast actually has a real one. Clara Paget's birth name is Lady Clara Elizabeth Iris Paget. Her father is Charles Paget, 8th Marquess of Anglesey.

Despite the show's title "Black Sails", the namesake does not make an appearance on the show; as none of the pirate ships actually sail with black colored sails. No pirate ships did. The salt from the sea would turn them grey very quickly.

The character Israel Hands is the only person to have existed both in real life and in the source material "Treasure Island." Hands was released from prison after Blackbeard's death and was written into Treasure Island as First Mate to Long John Silver.

While Captain Hornigold is played by Patrick Lyster who is in his 60s, the real Hornigold died at the age of 39.

In Season 1, Episode 2, when Eleanor Guthrie is sitting at the bar, the "Skye Boat Song" can be heard playing in the background. The song is a traditional Scottish tune about Bonnie Prince Charlie, Charles Stuart, who led the unsuccessful Rising of 1745 to retake Scotland and England from the Hanovers. Robert Lewis Stevenson, the author of Treasure Island on which Black Sails is based, wrote alternative lyrics to the "Skye Boat Song". In addition, the "Skye Boat Song" is the theme song to the Starz series Outlander (2014 - ). Bear McReary composes the music for both Black Sails and Outlander.

Almost all the flashback scenes on season 2 were shot in a row, over a period of 10 days.

When asked during an interview if she feels comfortable shooting nudity on the series, Hannah New said, "I think it's always going to be awkward, and it's always going to be a strange thing to do. But one of the most amazing things is that it always feels like a safe environment while we're doing it."

Jessica Parker Kennedy told Complex magazine that she'd performed nude on stage so she was used to being naked in front of several people. So agreeing to do the full frontal nudity for this show when she signed on was no issue. Her character being nude also made sense. She said, "You can't be on a Starz show playing a prostitute and say, 'I'm not going to show my ****s.'"

Rupert Penry-Jones (Thomas Hamilton) portrayed Squire Trelawney in the TV movie "Treasure Island" the story of which serves as part of the inspiration for "Black Sails.". (Mixing fact with fiction, the events of "Black Sails" serve as a prequel to "Treasure Island." )

David Wilmot, who plays Israel Hands in Black Sails, also played as William O'Brien in the TV version of Treasure Island, 2012.

Woodes Rogers was a real man who was briefly Governor of the Bahamas.

The episodes are named for their Roman numerals.



Toby Stephens (Flint) and Louise Barnes (Miranda) were told from the beginning that Flint and Thomas Hamilton (Miranda's husband) were romantically involved, so they could play their scenes together with that in mind. It was going to be revealed at the end of season 1, but the writers decided to keep it until the flashback scenes on season 2.

Contrary to their friendship portrayed on the show, Jack Rackham actually became a captain by leading a mutiny against Charles Vane after Vane chose to retreat from a French man-of-war, which Rackham was able to convince his men was an act of cowardice.

In real life, Charles Vane was hanged in Port Royal (Jamaica) not Nassau.

Although the Queen Anne's Revenge does not make an appearance in this series (Edward Teach, aka Blackbeard, captured it in 1717 after this series takes place), the renaming of the Spanish man-o-war to Revenge in Season 4 could be a reference to Blackbeard's flagship.

The keener eared viewer would have noticed that the traditional English melody 'The Parson's Farewell' had become a bit of a signature tune for the series. Just as Flint is seen setting sail for the Urca and Gates agrees to let the crew kill him after they take it, the music launches into a heavy rock rendition.
 









Ray Stevenson Talks Blackbeard, 'Black Sails,' and the Secret to Badassery

(You are very, very good at playing intimidating characters. What’s your secret?)

The key to playing an intimidating character is not to play him intimidating, because that weakens you. It’s that sort of thing about d##k-swinging. The guy who steps up and goes, “You better not, or else!” — he’s the weakest guy in the room. It’s such a collaborative effort; status has to be given to you by other actors around you. You don’t go out there and lambast your way through. If the other actors don’t give you status, you haven’t got it....The reason you’re intimidating is because these other characters are intimidated by you. How you use that is the device of the dramatist. These characters are intimidating, but I don’t go out to play an intimidating character, if that makes sense.

(How do you prepare for such an iconic role? Did you read a lot about Blackbeard?)

Blackbeard is one of those double-edged swords, excuse the pun. He’s one of the most historically documented pirates of that heightened pirate saga. You can read many accounts, but history, as we know, is written by victors and sensationalists. The U.S. had those pamphlets about the Wild West and the exploits of bandits and cowboys — but how much of that is really historically accurate? You have enough material to go on to make a piece, but ultimately you’re not playing those written interpretations. You’re playing this script. So with all that history stuff around you, you’ve got to leave it alone and then get into the script and work with the character you’re playing with....When you’ve got a series such as this — a fertilization, a cross-pollination of historical facts and dramatized storytelling — you can’t be too precious about these sort of things. You’re not out there to make a documentary. If you want a documentary, they’re essentially one or two people’s interpretation of history. This is a fully blown dramatization of pirates in that brief and bright time. It is what it is, and I think it’s absolutely fantastic.

(With Blackbeard being such a legendary historical character, as an actor, how do you approach taking on a role like that and making it your own? How does Edward Teach differ from the other pirates on the series? What motivates him?)

He was 6 feet 4 inches tall: he was a colossus. He was a larger-than-life character straight off the bat. He was also an extremely good navigator and captain. He could also be absolutely ruthless, when required. But he wasn't a psychopath. He was a leader of men, and he also was a great leader....He understood the benefits of the surprise attack and the theatricality involved in presenting yourself to a ship that you wanted to take. He took a lot of ships without so much as a skirmish because of his reputation. Therefore, none of his crew died, they all got a share of the bounty. And he was an amazing sailor....So you've got a man who was basically making his own legend in a time where, normally, you were condemned to the status of society you were born into.

(Why do you think stories about pirates intrigue TV and movie audiences so much?)

I think it's probably got something to do with the same thing that attracted people in that age to it: when you feel that you are a victim of your circumstances, you're confined to family circumstances, or work circumstances, this idea of forging your own future and not bowing down to the whims and wiles of the boss man or whatever. It's a part of every human spirit, to go and forge their own destiny. I also think, even though it's such a brief period in history, it certainly exposes that side of us.

https://www.inverse.com/article/102...beard-black-sails-and-the-secret-to-badassery

https://www.techtimes.com/articles/...-on-the-role-of-blackbeard-on-black-sails.htm
 



Interview with Black Sails Co-Creator Jon Steinberg


(How long has this project been brewing in your head, and how long did it take to form?)

Jon Steinberg: A really long time. It was a story I really couldn’t quite crack. The place you always want to be is the place nobody else is, and I felt this is a story that hasn’t been told in [a television series]. There’s the obvious. There’s the Disney version [of Treasure Island], but it’s the Disney version. It’s an adventure, a bit of a cartoon in a good way, but the reality of this world had never really been explored. So, Robert [Levine, co-creator and executive producer] and I read everything we could get our hands on about them, about the world they lived in. We read a lot of social histories that really had nothing to do with them just to understand where they came from, which then really made it clear that we had no idea what this was about. And I don’t think anybody has any real idea what this is about if what you’re basing it on the movies you’ve seen. We sold this show almost three years ago. So, it’s been a very long throw. It’s exciting now to finally show it to people. You start forget that we’re not actually making this for ourselves, that there are people out there who are going to watch it.

(You mentioned at the panel that there were guidelines about no peg legs or eye patches. Are there other clichés you’re staying away from like walking the plank and swabbing decks?)

All of them. Religiously. Some of it—clichés are clichés because there’s some truth in it. But we really wanted to root the audience in the feeling that this is reality. It’s a story about people who wake up in the morning and have to go fight a whole bunch of people to make the money they need to live, and it’s work. That’s a version of this I’ve never seen before. And to do that, you have to strip it all away. You have to strip away all of the clues that the audience starts to be keyed to that you’re in the world you expected to be. You’re in the Pirates of the Caribbean, Errol Flynn, Johnny Depp world. Some of it comes back in, but I think we’re really trying to strip it all down, and hopefully the audience will feel [they’re] seeing something new because of it. You say you’re taking away elements that are a little bit more cartoonish of pirates.

(But also in your research, did you find something really unique that hadn’t been explored yet before in film or television that could really make this stand out more?)

Yeah, the process of doing the research was really eye opening for us. The story I’ve always been told is that these guys are bloodthirsty, that the violence is the attraction to it. And when you really start to think about it, the violence is actually exactly what they don’t want. If they want the stuff then what they want is to make you afraid of the violence, so that you will give up your stuff without having to fight or damage it. That’s cool. Now, we’re talking about branding, and we’re talking about how these guys were able to create a narrative that was self-serving. Let’s put it this way, the narrative they created looks a lot more like the movies you’ve seen than the reality they were living in. And that was just a component of it. There was so much about it, politically, that in every direction, it felt like a show.

(Given that you’re working in a fictional world, how did you decide which historical characters to bring in?)

....There’s some freedom in the moment you realize that the historic record is severely compromised in terms of what these peoples’ lives were like. They had a motive to lie, and so did the people in London. So no matter wherever it’s coming from, you have to expose it to some doubt before you commit to it, which is good. It gives us the room to try to tell a story that will hopefully feel real. It probably won’t necessarily match up to the textbook to what happened, but I think we would probably argue that the textbook is already a narrative that somebody with an agenda put together a long, long time ago. At the end of the day, as long as it feels real, as long as people feel like it’s human beings experiencing this, I think we’re in a safe place.

(Did you have to create a sort of hierarchy within this show, so that there are certain captains that have a specific purpose, but they’re vying against each other for various reasons?)

.... But what was really so surprising to us was that the captains were really at the mercy of their men. They were guys trying to corral a mob. They weren’t kings on these ships; they were servants of these people. So, they’re projections of the crew more than they are the leaders of them, but I think you want the personalities, and you want to understand how all these people co-existed in a place, because they did. We got the question early on, “Why don’t they all kill each other?” And I’m not sure, but they didn’t. Somehow, these people figured out early on that they needed each other or they needed some part of each other.... They all want something different. I think the key to a story like this is that there’s never a “they.” There’s never a “they want money” or “they want violence.” It’s that everyone is there for different reasons. Some of them have political commitments and ideals, some of them want the money, and some of them are psychopaths. It attracted that. Each one of these characters has to be another piece of the puzzle to convey what this world was like....

https://www.denofgeek.com/tv/interview-with-black-sails-co-creator-jon-steinberg/
 
Some thoughts -

Ray Stevenson is only in 11 episodes total through parts of Season 3 and Season 4. However, since he's a very much beloved actor by fans, and that he's recently passed away, I thought it would be a good idea to highlight one of his somewhat lesser known projects. Black Sails, IMHO, is an incredible show. However the first 4-5 episodes of S1 can be a bit rough, as it was trying to find it's way and sea legs. But even The Expanse, it's first several episodes had some rough spots before it truly found it's stride. I consider Black Sails to be a true sleeper show as it just sort of slipped under the radar for many. Also the timeline in which it was created and released saw a massive explosion of original content produced that helped to get it lost in the overall crowd.

The only other person in these forums that I've seen talk about the show is @R_R_X (To be fair, I was off the forums for over a decade....) He is, of course, like everyone else here, welcome to talk about anything in this thread or Black Sails. More input is always appreciated. I've met very few people that have actually seen the entire run of the show to be honest.

This is a fantastic show, well constructed, with compelling characters and has a legitimate "true ending".
 
Last edited:
Hey MeatHook....I just read this on a trashy celebrity gossip site. Think there's anything to it or is just BS?

"The star of a yet to be released DC movie had his whole pay package moved to front end because no one thinks the studio will be there at the end to pay him or the payments will be tied up in a bankruptcy court.

Joaquin Phoenix/Joker: Folie à Deux"
 
Black Sails remains one of my favorite hidden gems of a series. Stevenson's Teach was an absolutely standout performance from start to finish.
 
I enjoyed the show from start to finish. It was quite entertaining. Glad they put something like this together..

Speaking of a Hurdy-Gurdy here’s an amazing piece of music called “Reverse Dance” by Andre Vinogradov. Enjoy!

 
Last edited:
Black Sails took me about 3 or 4 attempts before I was able to finish the first season, but from then on it's awesome. As mentioned the first few episodes are pretty rough. But yeah, it was a great series.

AnneBonny.png


Anne Bonny:love
 
Think there's anything to it or is just BS? "The star of a yet to be released DC movie had his whole pay package moved to front end because no one thinks the studio will be there at the end to pay him or the payments will be tied up in a bankruptcy court. Joaquin Phoenix/Joker: Folie à Deux"












‘Gump’ a Smash but Still in the Red, Paramount Says : Movies: Writer, who is due to get 3% of net profits, hires lawyer to question the studio’s accounting practices.

“Forrest Gump,” the Academy Award-winning movie starring Tom Hanks as a simple man who believed the best in people, has sold a staggering $661 million worth of tickets worldwide--the fourth-highest-grossing global release of all time....Indeed, Paramount’s financial statement revealed that “Gump” was actually $62 million in the red. Now, Winston Groom, the Alabama journalist-turned-author whose novel was the basis of the film, has hired a prominent attorney to seek answers from the studio. Under his deal, Groom was paid $350,000 upfront for the rights to his book and is to receive 3% of any net profits on the film....

....Indeed, for some industry observers, the “Gump” accounting raises this question: Can a big movie ever make a net profit using Hollywood accounting practices? Paramount executives declined to comment. But sources at the studio say they are stunned by Groom’s actions--and the suggestion that the studio is playing tricks with its accounting of “Gump” or has been unfair to net-profit participants...The sources say that even though the film has yet to show a net profit, studio executives believe it eventually will. Paramount has already paid about $3 million to those who have net-profit positions on the movie--and Paramount even has offered a $250,000 check to Groom as a “gift.” “They tried to give money to Winston,” said the source, who asked not to be identified. “I think he may not understand. All we are trying to do is give him $250,000 as an advance, no strings attached. We’re not trying to take money from anybody.” Attorney O’Donnell said the payment “would be a way of buying him off and making him go away.” He said the amount was rejected because “he thought it was too light.”

O’Donnell said Groom happens to know Buchwald, and the two writers have been comparing notes about Paramount’s accounting practices--even though Buchwald’s case occurred during a prior regime, long before Viacom Inc. acquired the studio....In Buchwald’s trial, which involved a breach-of-contract allegation, a judge held that Paramount’s net profit formula was “unconscionable.” Paramount has appealed the verdict.....At the time, O’Donnell said, Buchwald’s side had been informed by Paramount that even though “Coming to America” had grossed $160 million, it was unlikely to show a net profit. To which Buchwald quipped: “If Paramount keeps selling ‘Coming to America,’ they’re going to go broke.”

....Some Hollywood sources point out that the break-even point for a typical movie is 2 1/2 to three times its cost, taking into account that a studio gets about 50% of the ticket price. The gross profit is generally what the studio gets in film rentals, while net profits is what’s left after subtracting costs of making and selling the film. Those costs include marketing and print costs, promotion and a healthy dose of studio overhead and surcharges. But critics of studio accounting methods say “Gump” provides further proof that net profits are rare, especially on big films with major stars. “There is a greater chance that a writer will be struck by lightning than he will get any net profits in a high-budget movie with a big star and a big director,” O’Donnell said....Sources say Hanks and Zemeckis each could make $30 million to $40 million off “Gump” because they enjoy “first-dollar” deals, sharing box office receipts that Paramount receives after the exhibitors have been paid....The two men reportedly deferred much of their upfront pay (said to be $7 million for Hanks and $5 million for Zemeckis) in return for a percentage of the gross revenues. It was a gamble that paid off handsomely....

...But then the normal studio practice of subtracting costs began. The first thing it did was take $61.6 million (32%) off the top in “distribution fees,” the money spent to get the film into theaters. “That distribution fee is a fee they pay themselves,” O’Donnell said. “It is an unchanging percentage of the gross.” The true cost of distributing a movie, he said, is probably no more than 10% of the gross. “In the modern world of film distribution, studios use computers and a small number of employees, most of them in L.A., to market their films,” he said. Next, Paramount deducted $73.5 million (38% of the studio’s initial share) in “distribution expenses.” That’s the cost of advertising and making thousands of prints of the film. In the case of “Gump,” the studio says, it spent 1 1/2 times the cost of the movie itself to get people into the theaters. The studio also charged $6.2 million in interest payments on money it had spent to make the movie--a common practice at studios but one that O’Donnell calls a “hypothetical loan--it’s not a real loan.” The movie cost about $50 million to make. O’Donnell said that $61.8 million covers the gross-percentage participants, Hanks and Zemeckis. So, after all this has been subtracted, according to the confidential studio accounting statement, “Forrest Gump” showed a loss of $62,403,581.

https://www.latimes.com/archives/la-xpm-1995-05-24-mn-5473-story.html


*********

I haven't updated this thread in a while, but I want to get to questions when they do arise. I appreciate you taking the time to ask questions.

A good case study in film regarding nebulous "deals" would be Winston Groom (RIP) and what happened with Forrest Gump. I don't know the exact terms of Phoenix's contract, but in his situation and someone like Grooms, it's always better to get as much money upfront as possible. It's also in the interests of studios to claim they are under the gun financially ( Some of this stems from George Lucas when he made Empire Strikes Back, where there was the "regular industry price" and then there was the "Star Wars price" for things. To be fair, Lucas is no saint as well when it comes to money. ) How you negotiate your contract is dependent on multiple things

1) Which agency represents you. If you have a powerhouse like Creative Artist Agency behind you ( CAA) then it changes the dynamics involved.

2) What is your future value ( real or perceived) to the current industry. No one wanted to write bad articles about Kobe Bryant ( his cussing and tantrums around children/fans, his egregious petty behavior with teammates, coaches, fans, etc) , his bad mouthing of others in the league in public to outsiders, his affairs, his "****" case, until he was near the end, when he offered no more real media value to anyone anymore. But towards the end of his career, the media got far uglier with him. Then he died tragically with his daughter and now no one talks about his worst pathologies anymore.

3) What is your "bankability" overall. (Will people come to see you play anything on any subject just because it's you. Very few people are in this zone. With Gump, for example, Tom Hanks was at his peak then, and he could negotiate a nice payday deal over and beyond the average A list rated salary at the time)

4) If there is a dynamic that goes beyond money. If you need a comeback film, are hunting for Oscar bait roles or you are surfacing after a scandal, then you are more prone to take a deal less than what you might have gotten in some other circumstance. For example, if there was ever a time to try get Will Smith into a fringe project, on a lopsided deal not in his favor, now is the time. Usually people in this situation want to go back to the "well" For Smith, it would mean more Bad Boys films, maybe another Men In Black film, maybe I Am Legend 2 and 3, etc, etc. Even another Independence Day is not off the table ( doesn't matter that he was written out in Part 2)

A wrinkle today compared to back in the mid 90s for Groom and Gump is that there is far more Cartel money in the industry's back end financing. That's an implicit "reset" in terms of what people might do or not do at this point in public to rock the boat.

Do I think Warner Discovery will go under? That's a pretty complex question. My current answer is no. I'll add more to this subject later. It's an interesting discussion point, etc, etc.
 






....Closer is a 2004 American romantic drama directed and produced by Mike Nichols and written by Patrick Marber, based on his award-winning 1997 play of the same name. It stars Julia Roberts, Jude Law, Natalie Portman, and Clive Owen. The film, like the play on which it is based, has been seen by some as a modern and tragic version of Wolfgang Amadeus Mozart's 1790 opera Così fan tutte, with references to the opera in both the plot and the soundtrack...Closer received favorable reviews and grossed $115 million at the box-office. It was recognized with a number of awards and nominations, including Academy Award nominations and Golden Globe wins for both Portman and Owen for their performances....

Cast
Julia Roberts as Anna Cameron
Jude Law as Daniel "Dan" Woolf
Nick Hobbs as Taxi Driver
Colin Stinton as Customs Officer
With Natalie Portman as "Jane Jones"
And Clive Owen as Larry Gray

Critical reaction - The review aggregator website Rotten Tomatoes gives the film an approval score of 68% based on 212 reviews, and an average rating of 6.60/10. The website's critical consensus states, "Closer's talented cast and Mike Nichols' typically assured direction help smooth a bumpy journey from stage to screen."Another review aggregator, Metacritic, shows a weighted average score of 65 out of 100, based on 42 reviews, indicating "generally favorable reviews".....Roger Ebert, writing for the Chicago Sun-Times, said of the people involved with the film, "they are all so very articulate, which is refreshing in a time when literate and evocative speech has been devalued in the movies..."

Box office - Closer was released on December 3, 2004 in North America. Closer opened in 476 theaters, but the theater count was increased after the film was released. The film was domestically a moderate financial success, grossing $33,987,757. Huge success followed in the international market, where the film grossed an additional $81,517,270; over 70% of its $115,505,027 worldwide gross. The film was produced on a budget of US$27 million....


https://en.wikipedia.org/wiki/Closer_(film)
 
Closer (2004) Trivia

There are approximately 510 questions asked between the characters. That works out to around 5 questions per minute of run time.

At the beginning of filming, Natalie Portman gave Julia Roberts a necklace that said "c**nt" in honor of their characters' foul mouths. At the end of filming, Roberts gave Portman a necklace that said "lil' c**nt".

Clive Owen played the role of Dan in the original stage production.

In the build up to the release of the film, word got out that Natalie Portman had shot fully nude scenes for her role as a stripper. Ultimately cut from the film, it was reported that the nude footage was burned by the director Mike Nichols.

Cate Blanchett was originally signed to play the role of Anna, but due to her second pregnancy she had to drop out of the film. She was later replaced by Julia Roberts.

The original Broadway production of "Closer" by Patrick Marber opened at the Music Box Theater in New York on March 15, 1999. Cast was: Anna Friel as Alice, Rupert Graves as Dan, Ciarán Hinds as Larry, and Natasha Richardson as Anna. This ran for 172 performances and was nominated for the 1999 Tony Award for the Best Play. Marber also wrote the screenplay for this filmed production.

Several lines from Closer have been used in songs as lyrics or as titles. In Fall Out Boy's "Thanks fr th Mmrs" the lyric is "he tastes like you, only sweeter" which is what Anna says to Larry about Daniel when they're fighting in the apartment. In Fall Out Boy's "G.I.N.A.S.F.S." The lyric is "I love everything about you that hurts" which is a line Larry says to Alice in the club. Panic! at the Disco has a song called "Lying Is The Most Fun a Girl Can Have Without Taking Her Clothes Off" which is a line Alice says to Larry in the club. The second part of the line Alice says is another song titled "But It's Better If You Do".

According to the journalist Mark Harris, after Cate Blanchett dropped out of the film, Mike Nichols decided to choose to replace her between Nicole Kidman and Julia Roberts for the role of Anna, before finally deciding on Roberts.

The park Dan and Alice walk through is Postman's Park in London, near St Paul's Cathedral.

The photograph of an elderly couple which appears before Alice is photographed by Anna, and which appears also in Anna's exhibition, is a photograph of British philosophers Peter Geach and G. E. M. Anscombe.

Damien Rice, who sings the song "Blower's Daughter" on the film's soundtrack, recorded a song for the movie called "Elephant" - but the song wasn't finished in time for the movie's release. Another Rice song "Cold Water" can be heard in the film when Alice and Dan are walking around London after leaving the hospital.

Natalie Portman said that this was the first film that helped her break away from the association with Star Wars. Her on-screen daughter, Carrie Fisher, wrote Mike Nichols' previous film Postcards from the Edge (1990), which she also credited with helping her break away from Star Wars, and starting her career as a writer.

During the intense scene between Alice (Natalie Portman) and Larry (Clive Owen) in the strip club, the song that can be heard playing in the club is a famous Smiths hit "How Soon is Now?".

The music which plays on the menu of the region 2 DVD release is an instrumental piece called "Devotion" by Tom Campbell and Sam Sorensen.

In the final scene, Jane crosses the street with an evident "Don't Walk" hand signal.

In the scene where Larry signs the divorce papers, he still wears his wedding ring, but Anna does not wear hers.



The film stays very true to the original play upon which it is based, with one major exception. The play closed with Dan and Anna speaking briefly on a park bench, several years after Alice and Dan's breakup. Dan tells her that Alice had been hit by a car in New York City and had died, and that he was the only one authorities could find to identify her body. However, the film closes showing Alice alive, well and confidently walking the streets of Manhattan--BUT, the very last shot as she's walking across a road in Manhattan is a pan/tilt up to a red "DON'T WALK" signal, thus hinting that her fate as in the play will be fulfilled.

In the play, Larry is the dermatologist that attends to Alice's knee after she has been hit by a taxi.

The trailer includes several things that are not in the film. 1. Shots of the driver of the car that hits Alice. 2. Different lighting when Anna and Dan kiss. 3. Anna asking Dan, "Why did you swear eternal love when all you wanted was excitement? Love bores you." Dan responds, "No, it disappoints me." 4. Larry telling Alice, "You women don't understand the territory, because you are the territory". 5. A shot of Larry and Anna getting dressed.

The plaques that the Natalie Portman and Jude Law characters look at early in the film, and to which he returns at the end, are part of the Memorial to Heroic Self Sacrifice, unveiled in 1900. This commemorates ordinary Britons who died trying to save the lives of others. The artist George Frederic Watts, who lobbied for years for funding for the project, was particularly inspired by the example of Alice Ayres, a domestic servant who died in 1885 saving three children from a fire: this is the name that Jane Jones assumes for herself.
 
Back
Top