Warner Bros. has been trying to make a live-action feature film version of the beloved cyberpunk/body horror anime and manga Akira and their development goes back almost twenty years starting with Stephen Norrington (Blade) in 2002.
Multiple directors had tried to bring the project to the big screen only for things dissolve and the next set of creatives being hired.
The most recent incarnation had Oscar-winner Taika Waititi (Thor: Ragnarok, Jojo Rabbit) attempting to adapt for the studio, but seemingly hit a brick wall when trying to make sure he was able to cast a string of young Asian kids for the roles. Warner Bros. had been trying to whitewash the project for ages and even relocate the extremely Japanese story to Manhattan.
There had been an assumption that Taika Waititi had moved to bigger and brighter things with an original Star Wars movie on the horizon and his Flash Gordon movie at 20th Century Fox being upgraded from animation to live-action.
While promoting his acting performance in Ryan Reynolds’ Free Guy, he spoke to Wired giving the impression he’s still involved with Akira and hasn’t entirely walked away from it.
“I’m still trying [to make it]. I don’t wanna give up on that.”
Given his busy schedule and admitting his focus is now on his Star Wars project, it’s unlikely he’ll pivot to Akira anytime soon.
The last big anime adaptation was DreamWorks’ box office flop Ghost In The Shell, hopefully, Warner Bros. learns their lesson from that disaster.
If you’re interested in the development of Akira, you can read a feature I wrote for IGN covering the history of live-action adaptation and it includes a heap of concept artwork from various incarnations.
AKIRA – In 1988 the Japanese government drops an atomic bomb on Tokyo after ESP experiments on children go awry. In 2019, 31 years after the nuking of the city, Kaneda, a bike gang leader, tries to save his friend Tetsuo from a secret government project. He battles anti-government activists, greedy politicians, irresponsible scientists and a powerful military leader until Tetsuo’s supernatural powers suddenly manifest. A final battle is fought in Tokyo Olympiad exposing the experiment’s secrets.
A new Flash Gordon movie has been in the works at 20th Century for ages with two different versions previously in development stages with directors Matthew Vaughn (Layer Cake, Stardust, X-Men: First Class) and Julius Avery (Overlord) assigned to the project at various points.
Flash Gordon is a pulp sci-fi hero that helped inspire George Lucas’ Star Wars franchise as Han Solo is directly connected to characters like Flash and Buck Rogers. A comic strip hero that debuted in 1937 with many live-action/animated incarnations with a string of serials and a campy film that released in 1980 that included music from Queen.
In the wake of 20th Century’s merger with Disney, Julius Avery’s incarnation was placed on ice and it was later announced that director Taika Waititi would be tackling an animated movie version of Flash Gordon by writing and directing it. However, producer John Davis has spoken to Collider revealing that Taika is currently writing it and has changed his mind wanting to do a live-action movie instead. He didn’t really give a timeline though or when they expect Waititi will be available to shoot it.
“Taika is writing it. It was a movie that was a huge influence on him growing up. It is one of his favorite movies. He initially said to me, ‘Let’s do it animated.’ I said, ‘Okay.’ Then we got into it and started developing it and he said, ‘No, let’s do it live-action.’ I said, ‘Even better,'” John Davis told Collider of Taika’s pivot to live-action with Flash Gordon.
Disney/20th Century certainly lucked-out nabbing the director as watching Thor: Ragnaok it’s hard not to notice that tone and visuals were most likely inspired by the 1980 movie.
Waititi only recently wrapped on Thor: Love & Thunder and is expected to direct a new Star Wars film for Lucasfilm in the near future alongside other films, but it’s possible that Flash Gordon could be the next big thing given how quickly he shoots these projects. He had once been attached to make a movie based on the manga Akira for Warner Bros., but he’s seemingly won’t be doing that.
I’ll continue to keep my fingers crossed that the studio and Taika will consider Black Panther franchise actor Winston Duke as the new Flash Gordon, given the actor’s stature fits the role perfectly and someone like Chris Hemsworth would be a little redundant since his Thor incarnation is essentially Flash now.
FLASH GORDON – Prepare to save the universe with the King of the Impossible! Alex Raymond’s famous comic strip blasts to life in the timeless sci-fi cult adventure Flash Gordon! When energy waves pull the moon out of orbit, New York Jets quarterback Flash Gordon unwittingly finds himself heading for the planet Mongo, where – with assistance from beautiful Dale Arden – he’ll take on Ming the Merciless and rescue humankind.
At one time, Universal Pictures tried to develop a new film focusing on the famous monster hunter Van Helsing with director Guillermo del Toro and Tom Cruise starring. The character best known as the nemesis of Count Dracula in multiple installments from Hammer Films played by Star Wars actor Peter Cushing. More recently played by Anthony Hopkins in Francis Ford Coppola’s Dracula from 1992 and Hugh Jackman in the less scary Van Helsing adventure film from 2004.
Back in 2015, Universal then attempted to developed another reboot from screenwriters Jon Spaihts (Dune, Prometheus) and Eric Heisserer (Bloodshot, Arrival, Lights Out). This took place when the studio was assembling their Universal Monsters franchise called Dark Universe, which crumbled after the misstep of The Mummy reboot starring Tom Cruise flopped at the box office.
Deadline has an update on the project that will see James Wan’s production company Atomic Monster getting involved along with Overlord director Julius Avery now attached for the horror reboot. They also mention that a new script was penned by Eric Pearson (Black Widow, Thor: Ragnarok, Godzilla vs Kong, Agent Carter) that will now get rewrites from Avery.
Julius had once been attached to direct a reboot of Flash Gordon for 20th Century before the the merger with Disney led to the project’s demise.
Fellow Australian director Leigh Whannell (Upgrade) was tapped to reboot The Invisible Man with help from Blumhouse Productions and is now working on a new Wolfman movie that will star Ryan Gosling (Blade Runner 2049, Drive). There is a Dracula movie in the works from director Karyn Kusama (Jennifer’s Body, Destroyer) with other more comedic projects in various stages of development.
They had also been trying to reboot both Bride of Frankenstein and Creature From The Black Lagoon.
It’ll be interesting to see if Universal will want to make an R-rated film given the graphic nature of vampires to begin with and making PG-13 movies with vampires tend to be toothless concerning the horror angle being hindered without the use of blood/gore. I’m slightly curious if Avery’s film will be connected to Karyn’s Dracula film.
Yesterday, the Walt Disney Company announced a new initiative to get more content going for its streaming services such as Disney+, ESPN+, and Hulu from its sports, television, and film divisions. The new division will be called The Media & Entertainment Distribution group led by Kareem Daniel.
It sounds like they’ll be dedicating a lot more resources and money than they have previously as means to compete with competitors like Netflix and Amazon. However, this announcement says nothing about them throwing their 2021 theatrical slate on Disney+ and never mention a thing about ending theatrical releases altogether only pushing to place more content on their streaming services.
We will get more details on these plans on December 10th.
During an interview with CNBC, Disney’s new CEO Bob Chapek was quick to point out that they aren’t looking to stop the theatrical experience and would be announcing further details.
Also, specifically downplayed COVID-19’s role in the decision.
CHAPEK: “I would not characterize it as a response to Covid. I would say Covid accelerated the rate at which we made this transition, but this transition was going to happen anyway. Because essentially what we want to do is separate out folks who make our wonderful content based on tremendous franchises from the decision making in terms of prioritization is on how it gets commercialized into the marketplace. And what we want to do is leave it to a group of folks you can really see objectively across all of the constituents we have and various considerations we’ve got and make the optimal decision for the company as opposed to having it predetermined that a movie is destined to theaters or that a TV show is destined for ABC. So what we really want to do is provide some level of objectivity and really make it a decision that benefits the overall company and its shareholders.”
When pressed on Disney’s commitment to the theatrical model Bob said the following that gives the impression they’re not giving up on the theatrical model just yet.
CHAPEK: “We’ve benefited from a tremendous relationship with theatrical exhibition for many many many years as dynamics change in the marketplace though we want to make sure that we are giving consumers who want to go to theaters to experience everything that a theatrical release can give them, we want to continue to give them that option but at the same time there are a lot of consumers that want to experience a movie in the safety, comfort, and convenience of their own home for whatever reasons they do.”
To me, it sounds like either they are going to pursue a shorter theatrical window or a mixed model of day-and-date which obviously the theater industry wouldn’t be terribly pleased about on either front.
Here is the official press release from the Walt Disney Company website that gets a little more into the weeds about what all this means.
In light of the tremendous success achieved to date in the Company’s direct-to-consumer business and to further accelerate its DTC strategy, The Walt Disney Company (NYSE: DIS) today announced a strategic reorganization of its media and entertainment businesses. Under the new structure, Disney’s world-class creative engines will focus on developing and producing original content for the Company’s streaming services, as well as for legacy platforms, while distribution and commercialization activities will be centralized into a single, global Media and Entertainment Distribution organization. The new Media and Entertainment Distribution group will be responsible for all monetization of content—both distribution and ad sales—and will oversee operations of the Company’s streaming services. It will also have sole P&L accountability for Disney’s media and entertainment businesses.
The creation of content will be managed in three distinct groups—Studios, General Entertainment, and Sports—headed by current leaders Alan F. Horn and Alan Bergman, Peter Rice, and James Pitaro. The Media and Entertainment Distribution group will be headed by Kareem Daniel, formerly President, Consumer Products, Games and Publishing. All five leaders will report directly to Bob Chapek, Chief Executive Officer, The Walt Disney Company. Disney Parks, Experiences and Products will continue to operate under its existing structure, led by Josh D’Amaro, Chairman, Disney Parks, Experiences and Products, who continues to report to Mr. Chapek. Rebecca Campbell will serve as Chairman, International Operations and Direct-to-Consumer. Bob Iger, in his role as Executive Chairman, will continue to direct the Company’s creative endeavors.
“Given the incredible success of Disney+ and our plans to accelerate our direct-to-consumer business, we are strategically positioning our Company to more effectively support our growth strategy and increase shareholder value,” Mr. Chapek said. “Managing content creation distinct from distribution will allow us to be more effective and nimble in making the content consumers want most, delivered in the way they prefer to consume it. Our creative teams will concentrate on what they do best—making world-class, franchise-based content—while our newly centralized global distribution team will focus on delivering and monetizing that content in the most optimal way across all platforms, including Disney+, Hulu, ESPN+ and the coming Star international streaming service.”
Under the new structure, the Company’s three content groups will be responsible and accountable for producing and delivering content for theatrical, linear and streaming, with the primary focus being the Company’s streaming services:
STUDIOS: Messrs. Horn and Bergman will serve as Chairmen, Studios Content, which will focus on creating branded theatrical and episodic content based on the Company’s powerhouse franchises for theatrical exhibition, Disney+ and the Company’s other streaming services. The group will include the content engines of The Walt Disney Studios, including Disney live action and Walt Disney Animation Studios, Pixar Animation Studios, Marvel Studios, Lucasfilm, 20th Century Studios and Searchlight Pictures.
GENERAL ENTERTAINMENT: Mr. Rice will serve as Chairman, General Entertainment Content, which will focus on creating general entertainment episodic and original long-form content for the Company’s streaming platforms and its cable and broadcast networks. The group will include the content engines of 20th Television, ABC Signature and Touchstone Television; ABC News; Disney Channels; Freeform; FX; and National Geographic.
SPORTS: Mr. Pitaro will serve as Chairman, ESPN and Sports Content, which will focus on ESPN’s live sports programming, as well as sports news and original and non-scripted sports-related content, for the cable channels, ESPN+, and ABC.
The Media and Entertainment Distribution group, led by Mr. Daniel, will be responsible for the P&L management and all distribution, operations, sales, advertising, data and technology functions worldwide for all of the Company’s content engines, and it will also manage operations of the Company’s streaming services and domestic television networks. The group will work in close collaboration with the content creation teams on programming and marketing.
It’ll be interesting to see if Disney+ will start mining IP from the 20th Century Studios side of things soon as Disney+ series and limited series focused on properties like Avatar and Planet of The Apes could be extremely successful. In the press release they suggest that they could end up making episodic projects based on 20th Century properties.
A live-action Flash Gordon series stands out as a property that Disney really could do justice with on Disney+ and be a counter of sorts to their Star Wars shows as it could be way more swashbuckling than the Lucasfilm property that was inspired by it. Taika Waititi (Thor: Ragnarok, Thor: Love & Thunder, Jojo Rabbit) is attached to direct an animated Flash Gordon film and at one time 20th Century was developing a live-action feature as well from directors Matthew Vaughn (X-Men: First Class, Stardust, Layer Cake) and Julius Avery (Overlord) involved at different points.
I wouldn’t even put it past Disney to reboot John Carter eventually given the Volume/StageCraft would allow them to make a series more cost effective that world like Flash Gordon is different enough from Star Wars it would be worth pursuing.
Of course, this could mean a major influx of more shows from Marvel, Star Wars, and Pixar universes but might also see Hulu getting a bump of adult content as well with franchises like Alien (Noah Hawley pitched an Alien series to FX) and Predator just collecting dust while they could be helpful to get more eyeballs on Hulu. HBO Max had recently crowed about Ridley Scott’s sci-fi series Raised By Wolves being the most popular original on their service when announcing they were moving forward with a Season 2 order.
Matthew Vaughn has also been talking up the idea of a Kingsman spinoff series that could fit nicely at Hulu.
Disney certainly has a massive gap in the adult market and places like Canada don’t have access to Hulu and that really needs to change if they want to compete with Netflix/Amazon on an international level as those services offer content to both kids and adults alike. Cornering the kid market just won’t be enough for Disney if they want to grow their streaming presence.
I guess we’ll have to wait for December 10th to get more concrete answers about what all this actually means for content that is already in the can or is about to begin filming.
THE RONIN 