DID YOU READ

“Tales From Development Hell” reveals more about the “Lord of the Rings” movie starring The Beatles, and other films we’ll never see

beatles lord of the rings

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In his new book Tales From Development Hell, author and screenwriter David Hughes takes readers on a journey to a place filmmakers hope their projects will never end up: the creative limbo known as Development Hell.

Using the stories of several high-profile, never-made films to illustrate how the Hollywood machine can kill the momentum of even the most plausible projects, Hughes’ offers a fascinating look behind the scenes and into the boardroom as movies are conceived, re-conceived, written and rewritten, but never make it to the screen. From Darren Aronofsky’s “Batman” movie starring Clint Eastwood to a film based on Neil Gaiman’s Sandman comics, Tales From Development Hell recounts the tumultuous journey from pitch to purgatory for a long list of projects.

IFC spoke to Hughes about the book, and got his take on some of the projects he uses as examples, what their fates say about the filmmaking industry, and some of the surprises he discovered during his research. We also received an exclusive excerpt from the book describing one particular project that almost happened: a big-screen adaptation of J.R.R. Tolkien’s The Lord of the Rings starring The Beatles.

IFC: David, can you give me a little background on the book and the research you did for it? How does one go about getting information on stalled projects like these?

DAVID HUGHES: I started work on my first book about unproduced films, The Greatest Sci-Fi Movies Never Made, more than a decade ago (the first volume was published in 1999), so it’s kind of been an ongoing process since then — it’s just been a matter of narrowing the field from the dozens of high-profile unproduced movies to the ones which I felt deserved a whole chapter to themselves.

IFC: What was the most surprising development story you unearthed?

HUGHES: I’m surprised it wasn’t more widely publicised that Oliver Stone and James Cameron both had very different “Planet of the Apes” reboots in the works before Tim Burton landed the gig in 2000. In that case, from reading the various drafts involved, it seemed as though they went ahead and filmed the worst of all possible scripts — but then that’s not as uncommon as one might think. I mean, if you leave Frank Darabont’s “Indiana Jones” script on the shelf and make “Kingdom of the Crystal Skull,” all bets are off.

For sheer entertainment value, however, the story of Ridley Scott’s unmade Ebola-outbreak movie “The Hot Zone” takes some beating: Scott had Jodie Foster and Robert Redford as co-leads, and the rights to the originating article, Richard Preston’s “Crisis in the Hot Zone” – and Warner Bros simply ignored them and went ahead and made “Outbreak,” which had the advantage of not having to stick to the facts. You have to admire the chutzpah.

IFC: Did you find any recurring themes or similarities between the projects that often get relegated to development hell?

HUGHES: One word: fear. As Neil Gaiman — one of the countless writers, directors and producers I interviewed for the book — puts it: “Films carry with them a certain amount of fear because if you say ‘Yes’ to something and you’re wrong, you’re out on your ear, whereas if you say ‘No’ to something, you’re never going to get into trouble, if everything is always defensible. So you wind up in development with people trying to make things more like things they know, because that is a defensible position: you will probably not get fired for it. Unfortunately that’s why you wind up with films that look like other films.”

Few people at the studio are willing to risk their job, their reputation, their parking space, their place at the commissary, or whatever, by backing the wrong horse. So they might throw another million at yet another screenplay, by whoever just had a big movie opening (and therefore seems to know what the audience wants), rather than write “the big check” for maybe $100, $200 million, and get it wrong. There is very little to choose between “Speed Racer” and “Pirates of the Caribbean” going in. It’s a crapshoot.

IFC: As you were writing the book, did you find yourself revising any chapters as projects surfaced again or moved forward unexpectedly?

HUGHES: Yes, but those didn’t end up in the book — the last thing I wanted was for a particular film to be in theaters as the book came out, unless of course the development story was still worth writing about. Funnily enough, as the book was getting ready to go to press, the screenwriters of the infamous spec script “Smoke and Mirrors” (about an ageing stage magician called out of retirement to discredit an Algerian mystic — based on a true story) suddenly sold a big script, “Pompeii,” and told me to stand by for news about a revival of “Smoke and Mirrors.” But I’m still waiting for the call, so…

IFC: Among all the projects you researched, was there a particular film that’s had a rougher development period than the rest? Something that just seems unluckier than the others?

HUGHES: Something always seemed to come along to stop Walon “The Wild Bunch” Green’s epic script “Crusade” being made: first director Paul Verhoeven lost his currency when “Showgirls” flopped; then Arnie lost a bit of his sheen when he had a couple of underperformers; then 9/11 made it virtually impossible to film in the Middle East (or to make a politically risky film sympathetic to Muslim factions in the 11th Century); and then Arnie – who was already too old to play the leading man, Hagen – went off to be Governor of California. That one is a real missed opportunity, and now there are millions of dollars stacked up against it, so anyone who takes it on will start with a really big bill. I doubt that will ever happen.

The development of Neil Gaiman’s comic book series The Sandman also makes sobering reading – even when editing the book, my jaw dropped a couple of times – and the fact that the film hasn’t been made at all is some kind of Pyrrhic victory of common sense/artistic sensibility over stupidity/commerciality. They really did try to make Sandman the next Batman, which — as Gaiman said — is a little like trying to make Great Expectations the next Batman.

IFC: You make it clear that there are many, many more reasons for a project to end up in development hell than whether it’s good/well-conceived. What are some of the common reasons you found in your research?

HUGHES: Being “good/well-conceived” is rarely a reason a film gets made to begin with! There are almost as many reasons as there are unproduced films: perhaps a star gets nervous and jumps ship, leaving the studio holding the bag; maybe something similar opens, and doesn’t do that well — or has a similar idea; a star becomes attached but isn’t available for three years, by which time the moment has passed…

Frequently it’s just that the numbers don’t add up. I mean, I would have spent $100 million of my own money on “At the Mountains of Madness,” the H.P. Lovecraft adapatation with Guillermo del Toro directing, Steven Spielberg producing, and Tom Cruise starring. But then someone would legitimately say that the film would have to do $500 million to break even, so it would have to be the biggest R-rated movie of all time. That’s a hell of a big ask. Despite what “Field of Dreams” has taught us, if you build it they don’t always come.

IFC: If there was one stalled project you came across in your research that you could push forward, which one would it be?

HUGHES: I do have a soft spot for “Crusade,” “Smoke and Mirrors,” and “At the Mountains of Madness” — but if I had to pick one I’d have to selfishly say “T.J. Hooker: The Movie” because I wrote it! I thought it was a really fun, viable “Beverly Hills Cop”-style action-comedy with real action and real comedy — not one of those “neither one thing nor the other” efforts like “Starsky and Hutch.” But when “The A-Team” opened, T.J. Hooker creator Rick Husky put it back in a drawer, and now William Shatner is 80, and probably too old to play T.J. Hooker Senior opposite Kevin James or Will Ferrell, or whoever would be tapped to play the hapless T.J. Hooker Junior. Sigh.

IFC: What can aspiring writers/filmmakers learn from your book?

HUGHES: Hopefully that even the biggest filmmakers in the world can struggle to get a film off the ground! James Cameron, Steven Spielberg, Peter Jackson, Ridley Scott, Tim Burton…these guys have between them put billions of dollars into the Hollywood machine, and they still have a catalogue of unrealised dreams. So hopefully aspiring writers/filmmakers can take solace in the fact that they’re not alone. It’s certainly helped me to remain philosophical in my screenwriting career: I’ve come so close to having high-profile films produced, but I try never to get excited for longer than the duration of the phone call or the meeting — because anything else is just slow-motion suicide.

And now, an excerpt from Tales From Development Hell:

[The Lord of the Rings] had become one of the publishing sensations of the decade, and every studio in town was clamoring for the film rights. This time, it was another 60s phenomenon — The Beatles — who became linked to the project, a move apparently instigated by John Lennon. “We talked about it for a while,” Paul McCartney told Roy Carr, author of The Beatles at the Movies, “but then I started to smell a bit of a carve-up because, immediately, John wanted the lead.” According to Carr, however, Lennon was interested in the role of Gollum, with McCartney, George Harrison and Ringo Starr opting for Frodo, Gandalf and Sam respectively. Whether related to The Beatles’ ambitions or not, United Artists successfully acquired the rights to film The Lord of the Rings in the autumn of 1969, for the sum of $250,000.

It was around this time that Heinz Edelmann, designer and art director of The Beatles’ animated film Yellow Submarine, became interested in pursuing the idea of an animated adaptation. At the time, Edelmann was doubtful that stories of action, suspense and thrills could be depicted as straight animation, and proposed to make the film “as a kind of opera, or a sort of operatic impression”, more closely related to Disney’s Fantasia than, say, The Sword in the Stone. He intended to approach it “As one does an operatic version of any book,” he told Outré magazine, “[to] sort of try for a distillation of the mood and the story, but not follow every twist of the plot.” For instance, “One could have packed 300 pages of wandering into a five-minute sequence set to music.”

Edelmann has said that his version of The Lord of the Rings would not have been stylistically similar to Yellow Submarine: “The artwork would have been completely different: much less colour, and unrealistic, but without the art nouveau touch Yellow Submarine has.” Neither did Tolkien’s original illustrations for the book, which were all based on medieval art, appeal to Edelmann, who saw the story more in terms of an Akira Kurosawa film. “If you look at all the fantasy films done in the last thirty years,” he said in 2001, “there is a strong Japanese ethnic influence in the staging, in the buildings, and especially in the costumes. I think at that time we might have been the first to think in those terms. The Lord of the Rings is such a classic right now that almost no artistic freedom is possible. Back at that time, when it was new and Tolkien was still alive, it would have been a contemporary version, and I think that would have given us much more artistic freedom.” Nevertheless, he added, “I would have loved to have done it. Sometimes I do still think about it, but it would have been an awful amount of work. Maybe it’s better that it has remained just a concept.”

“Tales From Development Hell” by David Hughes is on shelves now. Chime in below or on Facebook or Twitter.

(The Beatles/Lord of the Rings image courtesy of Geeks of Doom.)

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Ghost World Thora Birch Scarlett Johansson

Graphic Fiction

10 Offbeat Comic Book Movies You Need To See

Catch The League of Extraordinary Gentlemen this month on IFC.

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Photo Credit: Everett Collection

When we think of movies based on comic books, our minds tend to drift towards tights, spectacular powers and origin stories about how those extraordinary powers come with great responsibilities. But not all comic books star superheroes, and not all movies adapted from them do either. In fact, there are a diverse array of films based on graphic novels and comic book titles, telling stories about everything from sexual awakening to cold blooded revenge. Here are a few comic book flix that are worth checking out while you wait for Captain America and Spider-Man to return to the big screen.

10. Persepolis

Persepolis
Sony Pictures Classic

Marjane Satrapi codirected and cowrote the screenplay for this acclaimed animated film, based on her autobiographical graphic novel of the same name. Through vivid animation and moving voiceover, the film tells the tale of Satrapi coming of age as a punk rock-loving kid during the Iranian revolution. A revolution itself, Persepolis scored the 2007 Grand Jury Prize at the Cannes Film Festival and further pushed the boundaries of what a comic book movie can accomplish.


9. Mystery Men

Mystery Men
Universal Pictures

Despite a fun script and an amazing cast (everyone from Ben Stiller to Eddie Izzard to Dane Cook is in this thing), Mystery Men never got much credit for spoofing the superhero genre way before the comic book movie glut. Based on Bob Burden’s Flaming Carrot comics, Mystery Men came and went when it was released back in 1999. It’s worth a second look, if for no other reason than to see Paul Reubens as a superhero with the power of explosive flatulence.


8. The Rocketeer

The Rocketeer
Disney

Released in 1991 on the heels of Batman and Dick Tracy, The Rocketeer was poised to be the next big comic book blockbuster. But the movie fizzled at the box office, eventually finding a much-deserved cult following on home video. Directed by Joe Johnston with the same mix of heart, humor and action-packed thrills that he brought to Captain America: The First Avenger, The Rocketeer is a throwback to classic pulp adventures presented with zero camp. A faithful adaptation of the late Dave Stevens’ graphic novel, it’s a franchise that Disney should consider rebooting. Maybe a Rocketeer/Captain America crossover?


7. Snowpiercer

Weinstein Company
Weinstein Company

Yes, that insanely awesome movie where Chris Evans fights his way through a futuristic train is based on a series of French graphic novels. Directed with visceral style by Bong Joon-ho, Snowpiercer developed buzz when it was released in 2014 thanks to its twisty plot and intense action sequences. The graphic novels are worth checking out, though you’ll have to supply your own bizarre Tilda Swinton accent.


6. Ghost World

United Artists
United Artist

Indie filmmaker Terry Zwigoff adapted this film with the help of Daniel Clowes, the writer and artist of the anthology comic Eightball, where the “Ghost World” story first appeared. The film, like the comic, tells the story of two oddball teenage girls making their way towards adulthood. For the film, Zwigoff and Clowes expanded the role of the middle-aged loner (Steve Buscemi) that Enid (Thora Birch) pranks before eventually befriending. The graphic novel helped put Clowes on the map, and the film went on to receive an Oscar nomination for Best Adapted Screenplay in 2002.


5. A History of Violence

New Line Cinema
New Line Cinema

This paired down thriller was a perfect example of respecting the form and brevity of the source material and translating it to the screen. Genre icon David Cronenberg helped steer this adaptation of John Wagner and Vince Locke’s graphic novel to an Oscar win for William Hurt, and a triumphant screening at the Cannes Film Festival.


4. Road to Perdition

Dreamworks
Dreamworks

Sam Mendes followed up his Oscar-adored film debut, American Beauty, by helming this adaptation of the 2002 comic by Max Allan Collins and Richard Piers Rayner. The story of a mob enforcer who seeks revenge on the men who killed his family, it was notable for casting Tom Hanks, aka America’s nicest movie star, as the heavy for once.


3. Art School Confidential

Sony Pictures
Sony Pictures

Terry Zwigoff and Daniel Clowes reunited for this largely autobiographical story of Clowes’ early days in art school. The original comic was just four pages long, meaning much of the material covered in the movie was original. Still, you should watch it for John Malkovich’s trademark bizzaro performance as a pompous professor, and then stick around for the serial killer subplot that feels like it’s from a different movie. This isn’t a classic like Ghost World, but it’s worth seeing just for the singular talents behind it.


2. American Splendor

HBO Films
HBO Films

American Splendor is an autobiographical film, based on an autobiographical series of comics about the life of cartoonist Harvey Pekar, who also appears in the film as himself, talking to his fictional counterpart, played by Paul Giamatti in a career defining performance. It is idiosyncratic, bizarre and something that has to be seen to truly grasp, but with a Grand Jury Prize for Dramatic Film at the 2003 Sundance Film Festival under its belt, it certainly did its source material proud.


1. The Diary of a Teenage Girl

Sony Pictures Classic
Sony Pictures Classic

Based on the semi-autobiographical graphic novel The Diary of a Teenage Girl: An Account in Words and Pictures, this recent indie favorite is about one teenage girl’s sexual awakening by way of an affair with her mother’s boyfriend. The movie, like the comics before it, mixes the moody angst of teendom with a certain magical realism to create an immersive world of sexual delights and snarky comebacks. Frank and funny, the film was an awards season favorite, and took home Best First Feature at the 2016 Spirit Awards.

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Kylo Ren

Use the Farce

Kylo Ren Outtakes, Maron’s Advice for Millennials And More of This Week’s Funniest Videos

This week we're laughing at Beyonce covers, Ab Fab: The Movie trailer and more.

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As another week ends, it’s important to blow off some steam with some hilarious videos. An entertainment appetizer, if you will, that’ll make the transition from work to play a little easier.

From a bumbling Kylo Ren to a perfect take on every white guy who covers Beyonce, here are five funny things from this week you need to watch.

1. Kylo Ren Outtakes


Exceeding fans’ expectations and being better than it had any right to be, Star Wars: The Force Awakens revitalized an ailing franchise from its abominable sequels. And a large part of the recent film’s appeal is its captivating villain, Kylo Ren. But as Auralnauts present in their YouTube video, the antagonist had a little trouble with negotiating his mask. Check out Kylo’s “outtakes” from the film and hope that director J.J. Abrams de-tints the visor for the next installment.


2. Marc Maron’s Advice for Millennials

The prospect of entering a tough job market with a soaring cost of living and a college degree of diminishing quality is enough to discourage any young millennial. Thankfully, IFC’s designated curmudgeon Marc Maron has some helpful advice for the young men and women to find some solace in an increasingly unfeeling word. Sure, it mostly involves swallowing your pride and accepting misery, but the intention is pure. (Find out how Marc digs himself out of his own personal hole when Maron returns on May 4th at 9P.)


3. Pixies’ “Where Is My Mind?” Covered By Animals


If you got somebody’s answering machine in the early-to-mid ’80s, you might’ve been greeted by a chorus of pups barking “Jingle Bells”, “Grand Old Flag”, or another royalty-free tune. In that vein, YouTuber Insane Cherry assembled the bleats, grunts, and meows from a veritable barnyard of animals into a rendition of “Where Is My Mind?” by the Pixies. Yes, the cats sound like they’re stressed, but to their credit, they’re really nailing Frank Black’s voice.


4. Absolutely Fabulous: The Movie trailer

If you’re like us, you probably have fond memories of watching Patsy and Edina’s drunken adventures back when Comedy Central aired AB Fab reruns in the ’90s. Thankfully the gals are back in a new movie, still sloshed and living a fabulous life. (And this time out, they might have killed Kate Moss.) Considering all the hard living they’ve done, we have to echo Jon Hamm (playing himself in the film) and say we’re surprised they’re still alive and kicking. (For more on the film, visit our pals over on BBC America.)


5. White Guy Covers Beyonce’s Lemonade

Beyonce broke the Internet with her Lemonade album and companion music videos, inspiring a slew of covers and tributes from fans. Funny or Die offered up a perfect spoof of earnest white guy YouTubers who cover Beyonce’s #relatable songs.

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TREMORS [US 1990]  FRED WARD, FINN CARTER     Date: 1990

Better Off Fred

5 Roles That Prove Fred Ward Should Be In Every Movie

Catch a Tremors movie marathon Saturday, April 30th on IFC.

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Photo Credit: Universal/Everett Collection

Fred Ward has always exuded a tough but likeable on-screen “bad-assitude” that has enabled him to enjoy a career spanning five decades. Before he had a recognizable “that guy” face to movie fans, he was cast alongside Clint Eastwood in Escape from Alcatraz. Not many actors can play both Henry Miller and David Spade’s dad in Joe Dirt with equal aplomb. Before you catch IFC’s Tremors marathon, check out some roles that prove Fred Ward can hold his own with the Van Dammes and Stallones of the world.

5. Wilkes, Uncommon Valor

Due to his rugged, determined look, Ward was often cast as cops, crooks and military men. It’s no surprise that he appeared in Uncommon Valor, the 1983 film where Gene Hackman puts together a ragtag squad of ex-Vietnam vets to rescue his son who was left behind in Laos. Sure, the movie pretty much set out to make a Vietnam version of The Dirty Dozen, but that doesn’t mean it wasn’t entertaining in its own right. Ward fits right in with a cast of ’80s era tough guys, including Patrick Swayze, Randall “Tex” Cobb, and Tim Tomerson. Ward’s character Wilkes was a tough-as-nails Vietnam Vet who was a “tunnel rat” during the war. There’s a funny training session scene that provides a comic relief moment where Wilkes captures every one of the guys in the unit, including Gene Hackman’s Colonel Rhodes, by hiding under water. Eat your heart out, Rambo.


4. Earl Bass, Tremors

Not many actors can pull off lasso-tossing an explosive in order to lure a huge worm creature with snake tongues out of the desert sand, but Ward pulls off the moment with zero camp. His Earl Bass, the tough but average Joe ranch hand turned hero, didn’t need Kevin Bacon’s long hair and exaggerated Southern drawl either. Ward and Kevin Bacon made a great team trying to save their town from the Graboids, elevating the humor in this out-of-this-world (or under-this-world) horror comedy.


3. Sgt. Hoke Moseley, Miami Blues

In a movie where Alec Baldwin completely shines as a psychotic (and highly entertaining) criminal using Miami as his own personal joy ride, Fred Ward gives an equally great performance as the grizzled Miami cop who’s seen one too many cases. After being attacked by Baldwin’s character in his own home, Ward’s Sgt. Hank Moseley loses his badge, his gun and his dentures, which really pisses him off. (And nobody plays pissed off better than Ward.) Baldwin’s Junior goes on a crime spree while using Moseley’s identification. Moseley’s wily veteran slowly begins to figure out what Junior is up to through sly conversations with Baldwin and his overly trusting hooker girlfriend, memorably played by Jennifer Jason Leigh. An underrated action comedy that is all the better for giving us a pure shot of uncut Ward awesomeness.


4. Gus Grissom, The Right Stuff

“An astronaut named Gus?” That was the question asked of Virgil Grissom in The Right Stuff by the executive from Life magazine. Who better to play a fearless, rough-around-the-edges astronaut who refused to be called Virgil than Fred Ward? The Mercury Astronauts were the best of the best, and in the film they were played by a group of great actors who were all perfectly cast to portray the brash group of American heroes. In the film, Gus was blunt and to the point and far from loquacious (his character would never use that word) but when he did speak up, it had meaning. In another pivotal scene, in which Deke Slayton was relaying to the other astronauts what Gus was trying to say about beating a monkey into space, it’s Gus’ response that summed up his character perfectly: “F***in’ A, bubba.” Nobody could have delivered that bad-ass line better than Fred Ward. In fact, “F***in’ A bubba” should have been added into the dialogue of every character he played.


5. Remo Williams, Remo Williams: The Adventure Begins

Remo Williams: The Adventure Begins might have gotten ahead of itself with that title as we never got to see the adventure continue, but it had everything you want in an action movie, starting with Fred Ward. Of course, it also had Joel Grey in heavy makeup portraying Korean martial arts master Chiun, but the less said about that unfortunate bit of dated cultural stereotyping the better. Based on a series of pulp novels, Remo Williams was supposed to be an American alternative to James Bond. In an alternate, much cooler universe, it would have propelled Ward to action movie superstardom. In the film, Ward starts out as a NYC street cop recruited to be a government assassin. His face was altered through plastic surgery (to look less like a generic actor and more like Fred Ward with a clean shave) and then he is given the name Remo Williams. There is a lot of humor in this film, which mostly comes through the interaction between Ward and Grey. Chiun teaches Remo the ways of Sinanju, the ancient Korean marital art which enables you to not only dodge punches but point blank range bullets as well. (Let’s see Mr. Miyagi do that.) Anyone who caught this movie during one of its many TV airings during the ’80s remembers the thrilling fight scenes that takes place on the Statue of Liberty. Only Ward could pull off a turtle neck sweater/leather jacket combo and still look badass.

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