First there was Jason Bourne — and Treadstone — but it didn’t stop there. Even within the original Matt Damon series, there were other operatives, other programs. Castel, who came to the Parisian apartment and jumped out of the window when his mission to kill Bourne failed. The Professor, memorably played by Clive Owen, whose stakeout of a country home ends with his own death. Manheim, who kills Conklin. Jarda, who tells Bourne that Treadstone’s been shut down and then fights him anyway. Paz, who kills a journalist at Waterloo station, despite Bourne’s best efforts to protect him, and later decides not to kill Bourne when he repeats the Professor’s dying words. Desh, sent to kill Neal Daniels, and then Nicky Parsons, after she got him to deviate from his course. Even without “The Bourne Legacy,” it’s clear Bourne was just the tip of the iceberg. “We’re creating a legacy, we’re creating a world,” said Frank Marshall, who has produced each of the films in the series so far.
The main operative introduced in “Legacy” is Aaron Cross (played by Jeremy Renner), an agent with a new program, called Outcome, which is in just as much danger as Blackbriar is of being shut down when the events of the last film catch up to this one. “Once Treadstone or Blackbriar is blown, it’s a federal investigation,” Marshall said. “So they’re trying to discredit Pamela Landy, because she sent the papers in the last movie to the New York Times.”
As they shut down the programs, they start to kill the agents involved (and you thought the layoffs at your workplace where harsh!). “It might be in the job description,” Marshall joked. “You better read your contract. Who knows what we all agree to?” Through the course of this, we learn about the range of other programs, such as Emerald Lake (one of the earliest incarnations of Treadstone) and LARX (which is described as Treadstone without the empathy, or “inconsistencies.”)
“When you go down the table [with the program files],” Marshall said, “there’s a bunch, and they’re all doing something different, and with different agencies. The CIA was doing Treadstone and Blackbriar, but they didn’t handle those too well, so now some of the programs are outsourced, privatized, and that’s why a pharmaceutical company is involved.”
In order to create elite operatives, some chemical engineering was at play. Ed Norton’s character, Eric Byer, is revealed to be the mastermind of all these programs, which he calls “morally indefensible and absolutely necessary.” “He is the ultimate puppeteer,” Marshall said, “and we never had that character before, so that promises a richer area to look at in the future.”
If “The Bourne Legacy” takes off, Marshall said they hope to continue to explore the wider world of the programs, which could include the connections between Eric Byer, Aaron Cross, and perhaps even Jason Bourne as well. Whether or not Damon would return to the franchise depends on the script, Marshall said, noting that until there’s another script, no decision will be made about who would direct the next one. (Damon has made his preference for Paul Greengrass well known).
At what point would the series cease to have Bourne in the title, if Jason Bourne doesn’t make any future appearances? Joking that they could call the next one “Bourne Free,” Marshall admitted, “We don’t know at this point if we’ll continue to focus on [Jason Bourne or Aaron Cross], or just get this world right so we can go in any direction. All possibilities are open.”
Spend Valentine's Day weekend with IFC's Underworld movie marathon.
Posted by Emmy Potter on Photo Credit: Screen Gems/courtesy Everett Collection
Romance takes many forms, and that is especially true when you have a thirst for blood or laser beams coming out of your eyes. It doesn’t matter if you’re a werewolf, a superhero, a clone, a time-traveler, or a vampire, love is the one thing that infects us all. Read on to find out why Romeo and Juliet have nothing on these supernatural star-crossed lovers, and be sure to catch IFC’s Underworld movie marathon this Valentine’s Day weekend.
1. Cyclops/Jean Grey/Wolverine, X-Men series
The X-Men franchise is rife with romance, but the steamiest “ménage à mutant” may just be the one between Jean Grey (Famke Janssen), Cyclops (James Marsden), and Wolverine (Hugh Jackman). Their triangle is a complicated one as Jean finds herself torn between the two very different men while also trying to control her darker side, the Phoenix. This leads to Jean killing Cyclops and eventually getting stabbed through her heart by Wolverine in X-Men: The Last Stand. Yikes! Maybe they should change the name to Ex-Men instead?
2. Willow/Tara, Buffy the Vampire Slayer
Joss Whedon gave audiences some great romances on Buffy the Vampire Slayer — including the central triangle of Buffy, Angel, and Spike — but it was the love between witches Willow (Alyson Hannigan) and Tara (Amber Benson) that broke new ground for its sensitive and nuanced portrayal of a LGBT relationship.
Willow is smart and confident and isn’t even sure of her sexuality when she first meets Tara at college in a Wiccan campus group. As the two begin experimenting with spells, they realize they’re also falling for one another and become the show’s most enduring, happy couple. At least until Tara’s death in season six, a moment that still brings on the feels.
3. Selene/Michael, Underworld series
The Twilight gang pales in comparison (both literally and metaphorically) to the Lycans and Vampires of the stylish Underworld franchise. If you’re looking for an epic vampire/werewolf romance set amidst an epic vampire/werewolf war, Underworld handily delivers in the form of leather catsuited Selene (Kate Beckinsale) and shaggy blonde hunk Michael (a post-Felicity Scott Speedman). As they work together to stop the Vampire/Lycan war, they give into their passions while also kicking butt in skintight leather. Love at first bite indeed.
4. Spider-man/Mary Jane Watson, Spider-man
After rushing to the aid of beautiful girl-next-door Mary Jane Watson (Kirsten Dunst), the Amazing Spider-man is rewarded with an upside-down kiss that is still one of the most romantic moments in comic book movie history. For Peter Parker (Tobey Maguire), the shy, lovable dork beneath the mask, his rain-soaked makeout session is the culmination of years of unrequited love and one very powerful spider bite. As the films progress, Peter tries pushing MJ away in an attempt to protect her from his enemies, but their web of love is just too powerful. And you know, with great power, comes great responsibility.
5. Molly/Sam, Ghost
When it comes to supernatural romance, you really can’t beat Molly and Sam from the 1990 hit film Ghost. Demi Moore goes crazy for Swayze like the rest of us, and the pair make pottery sexier than it’s ever been.
When Sam is murdered, he’s forced to communicate through con artist turned real psychic, Oda Mae Brown (Whoopi Goldberg in her Academy Award-winning role) to warn Molly she is still in danger from his co-worker, Carl (a pre-Scandal Tony Goldwyn). Molly doesn’t believe Oda is telling the truth, so Sam proves it by sliding a penny up the wall and then possessing Oda so he and Molly can share one last romantic dance together (but not the dirty kind). We’d pay a penny for a dance with Patrick Swayze ANY day.
6. Cosima/Delphine, Orphan Black
It stands to reason there would be at least one complicated romance on a show about clones, and none more complicated than the one between clone Cosima (Tatiana Maslany) and Dr. Delphine Cormier (Evelyne Brochu) on BBC America’s hit drama Orphan Black.
Cosima is a PhD student focusing on evolutionary developmental biology at the University of Minnesota when she meets Delphine, a research associate from the nefarious Dyad Institute, posing as a fellow immunology student. The two fall in love, but their happiness is brief once Dyad and the other members of Clone Club get involved. Here’s hoping Cosima finds love in season four of Orphan Black. Girlfriend could use a break.
7. Aragorn/Arwen, Lord of the Rings
On a picturesque bridge in Rivendell amidst some stellar mood-lighting and dreamy Elvish language with English subtitles for us non-Middle Earthlings, Arwen (Liv Tyler) and Aragorn (Viggo Mortensen) bind their souls to one another, pledging to love each other no matter what befalls them.
Their courtship is a matter of contention with Arwen’s father, Elrond (Hugo Weaving), who doesn’t wish to see his daughter suffer over Aragorn’s future death. The two marry after the conclusion of the War of the Ring, with Aragorn assuming his throne as King of Gondor, and Arwen forgoing her immortality to become his Queen. Is it too much to assume they asked Frodo to be their wedding ring-bearer?
8. Lafayette/Jesus, True Blood
True Blood quickly became the go-to show for supernatural sex scenes featuring future Magic Mike strippers (Joe Manganiello) and pale Nordic men with washboard abs (Hi Alexander Skarsgård!), but honestly, there was a little something for everyone, including fan favorite Bon Temps medium, Lafayette Reynolds (Nelsan Ellis).
In season three, Lafayette met his mother’s nurse, Jesus, and the two began a relationship. As they spend more time together and start doing V (short for Vampire Blood), they learn Jesus is descended from a long line of witches and that Lafayette himself has magical abilities. However, supernatural love is anything but simple, and after the pair join a coven, Lafayette becomes possessed by the dead spirit of its former leader. This relationship certainly puts a whole new spin on possessive love.
9. Nymphadora Tonks/Remus Lupin, Harry Potter series
There are lots of sad characters in the Harry Potter series, but Remus Lupin ranks among the saddest. He was bitten by a werewolf as a child, his best friend was murdered and his other best friend was wrongly imprisoned in Azkaban for it, then THAT best friend was killed by a Death Eater at the Ministry of Magic as Remus looked on. So when Lupin unexpectedly found himself in love with badass Auror and Metamorphmagus Nymphadora Tonks (she prefers to be called by her surname ONLY, thank you very much), pretty much everyone, including Lupin himself, was both elated and cautiously hopeful about their romance and eventual marriage.
Sadly, the pair met a tragic ending when both were killed by Death Eaters during the Battle of Hogwarts, leaving their son, Teddy, orphaned much like his godfather Harry Potter. Accio hankies!
10. The Doctor/Rose Tyler, Doctor Who
Speaking of wolves, Rose “Bad Wolf” Tyler (Billie Piper) captured the Doctor’s hearts from the moment he told her to “Run!” in the very first episode of the re-booted Doctor Who series. Their affection for one another grew steadily deeper during their travels in the TARDIS, whether they were stuck in 1950s London, facing down pure evil in the Satan Pit, or battling Cybermen.
But their relationship took a tragic turn during the season two finale episode, “Doomsday,” when the Tenth Doctor (David Tennant) and Rose found themselves separated in parallel universes with no way of being reunited (lest two universes collapse as a result of a paradox). A sobbing Rose told a holographic transmission of the Doctor she loved him, but before he could reply, the transmission cut out, leaving our beloved Time Lord (and most of the audience) with a tear-stained face and two broken hearts all alone in the TARDIS.
This weekend sees the unveiling of “The Bourne Legacy,” an unusual twist on the current reboot/remake trend in Hollywood. Rather than bringing back the same character from a popular series, Universal Pictures is returning us to the franchise’s milieu but with a completely new protagonist at the center. That puts pressure on Academy Award nominee Jeremy Renner, the lead in “The Bourne Legacy,” to prove himself as a viable action star. (Granted, he played Hawkeye in “The Avengers,” but it’s not as if he was asked to carry that superhero extravaganza.) But with pressure comes opportunity, and Renner should keep this in mind: Before the Bourne films, people didn’t necessarily think of Matt Damon as an action star, either.
“The Bourne Identity” opened June 14, 2002, and it wasn’t as if audiences weren’t aware of Damon. He had won a screenwriting Oscar (with his buddy Ben Affleck) for “Good Will Hunting,” and he was the Ryan being saved in “Saving Private Ryan.” But even in 2001’s hit caper comedy “Ocean’s Eleven,” Damon was overshadowed by his higher-profile co-stars like Brad Pitt and George Clooney. So doing “The Bourne Identity” was definitely a bit of a stretch, playing an elite assassin who has lost his memory and must quickly regain it while being chased by those who want him dead. This wasn’t exactly the same thing as being the sensitive Will Hunting or insecure Linus Caldwell — he had to be a chiseled, believable killing machine.
When “Identity” came out, it performed well in its first weekend — grossing $39 million — but in a sign that audiences weren’t exactly salivating for either a Bourne film or an action movie starring Damon, it ended up in second place, crushed by a $76-million opening for “Scooby-Doo.” (Yes, there was a time when people were more excited about a Scooby-Doo flick that a Bourne film.) But “Identity” showed legs and earned good reviews, snagging almost $122 million during its theatrical run and becoming a huge hit on DVD.
Even more importantly, though, “The Bourne Identity” helped establish a template for what this series could achieve. For as much credit as director Christopher Nolan rightly received for reinventing Batman with the dark, realistic tone of 2005’s “Batman Begins,” “The Bourne Identity” had adopted much of the same approach three years earlier. Directed by Doug Liman, who previously had made the indie films “Swingers” and “Go,” “The Bourne Identity” featured terrific stunts, but most of the best moments stemmed from human-scale tension, such as in the dynamic shootout between Bourne and a lethal sniper (Clive Owen). Damon was able to convince as an action hero, but he didn’t have to jettison his empathy and soulfulness in the process — if anything, those qualities were just as critical to his construction of a character who only slowly begins to understand the monstrous things he once did for the U.S. government.
By the time of 2004’s “The Bourne Supremacy,” the series was popular enough that it opened to almost $75 million, dwarfing everything around it. Ending up as the eighth-highest-grosser of its year, “Supremacy” was even better than “Identity,” thanks in no small part to the arrival of director Paul Greengrass. Before “Supremacy,” the English filmmaker had never made a Hollywood movie, but he proved more than capable, delivering a beautifully intense thriller that upped the action while simultaneously deepening the emotional resonance of an assassin’s reckoning with his past. Add to that one of the greatest hand-to-hand combat scenes in recent Hollywood history, and you’ve got a supremely riveting film that was hugely influential. (The steely 2007 James Bond reboot “Casino Royale” is heavily indebted to the quick cutting and realistic tone of “The Bourne Supremacy.”)
2007’s “The Bourne Ultimatum,” which reunited Damon and Greengrass, was even more commercially successful, satisfyingly resolving the trilogy while also being faithful to the series’ critique of government surveillance and unchecked power. Between “Supremacy” and “Ultimatum,” Greengrass made “United 93,” a dramatization of the terrorist hijacking of United Airlines Flight 93 during 9/11, and while that film largely eschewed political messages, his big-budget Bourne films were in a way a response to the aftermath of the events portrayed in “United 93,” showing a world in which personal liberties were sacrificed in the name of homeland security. Of course, you didn’t have to read any deeper meaning into the “Bourne” films to be whisked away by their propulsive energy, but that subtext made them rather nervy for mainstream entertainment — and yet all three films combined have brought in almost $1 billion worldwide.
Now it’s 2012, and Greengrass and Damon have moved on to other projects. “The Bourne Legacy” has a financial legacy to live up to, but even more so, a creative one. Outside of Nolan’s Batman films or the “Lord of the Rings” movies, no recent trilogy has been so wholly entertaining as the Bourne series, offering a new level of kinetic thrills and stripped-down drama that also boasted some real brains. The new film is directed by Tony Gilroy, who co-wrote the first three films and also directed “Michael Clayton,” so it’s not as if “Legacy” won’t share any DNA with its superb predecessors. But if Renner felt any wariness about signing up to play a Bourne-like soldier, he might be cheered to know that, of all recent franchises, the Bourne films have been the most welcoming of fresh faces. Doug Liman had never made a film on this scale, and neither had Paul Greengrass or Matt Damon. If anything, Renner’s in fine company.
“Indiana Jones 5″ might need its MacGuffin, but it doesn’t sound like it’s going to get it any time soon.
In an interview with Collider, producer Frank Marshall admitted that a fifth “Indiana Jones” movie is likely a no-go. He seems perfectly happy to just let the series go after “Indiana Jones and the Kingdom of the Crystal Skull.”
“I say, for me, [Kingdom of the Crystal Skull is] the last hurrah. I know that yes, we talk about it, but there’s no idea, there’s no MacGuffin,” he said.
“I mean, I know what [‘Indy 5′ is] about,” he said, “but I just have to find a MacGuffin that fits into the arena we’re working in.”
Since Lucas has since retired from filmmaking (albeit with a clause to allow him to make a fifth “Indy” movie), Marshall said he thinks that “Indiana Jones 5″ is dead on arrival.
“Yeah, no [Lucas] isn’t [hungry to do another Indiana Jones],” Marshall said. “And he’s obviously passing the baton to my wife, so.”
Marshall’s wife is Kathleen Kennedy, who was named co-chair and Lucas’s successor at Lucasfilm on June 1. Lucas, Steven Spielberg and Harrison Ford might as well end the franchise while they’re sort of ahead, since no one from our vantage point is clamoring for a new movie.
Lucas announced his retirement to The New York Times back in January, saying, “I’m moving away from the business, from the company, from all this kind of stuff. … Why would I make any more when everybody yells at you all the time and says what a terrible person you are?”
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