It was heartbreaking to see Wes Ball’s (Maze Runner Trilogy) big special effects event film Mouse Guard getting scrapped as part of the wave of films that got cancelled in the wake of Disney’s merger with 21st Century Fox and taking oversight on feature films in development at 20th Century Fox (now 20th Century Studios).
Ball would instead be announced as the director and co-writer on a fourth installment in the modern Planet of The Apes franchise, the filmmaker assuring fans the project wouldn’t be a reboot but taking place in the same universe as the last three movies. The director co-writing the new film with Josh Friedman, who has worked on Steven Spielberg’s War of The Worlds, Brian De Palma’s The Black Dahlia, Terminator: Dark Fate, the Snowpiercer series, and Apple’s Foundation.
It looks like the next film should have the same level of impressive visual effects as previous installments.
The Ronin has learned that Weta Digital’s Phillip Leonhardt will be the visual effects supervisor on the untitled film having previously worked on Robert Rodriguez’s Alita: Battle Angel and Maze Runner: The Death Cure. Leonhardt is no stranger to the franchise with involvement on Matt Reeves’ War For The Planet of The Apes.
Weta Digital was working closely with Ball on Mouse Guard and Andy Serkis was going to have a role on that film, we would not be shocked if Serkis returned for Planet of The Apes 4. However, Serkis playing new chimpanzee role within the franchise could mimic how Roddy McDowall played both Cornelius and Caesar in the original string of films.
Folks unfamiliar with the original Planet of The Apes movies might be unaware that the modern trilogy really only covered pics such as Conquest of The Planet of The Apes and Battle For The Planet of The Apes, stories that don’t take place in the original timeline of the first two movies which is nearly 2,000 years in the future from the settings we’ve recently seen.
If I’m 20th Century Studios and Wes Ball, I would be ready at this point to make the true time jump to the point were the apes are running their own evolved society (less primitive and speaking) and potentially seeing a group of astronauts crash land on this planet having to navigate a setting where humans are no longer the dominate species. Beneath The Planet of The Apes revealed a secret group of mutated humans have gained the ability of telepathy (something that nobody has tackled since that installment), which could be an interesting spin as it’s not just a straight rehash of the original 1968 film and Tim Burton’s misguided reboot from 2001 starring Mark Wahlberg with fantastic makeup from Rick Baker.
Speaking of Wahlberg, we have our fingers crossed that Wes Ball hires someone with a little more age/skill to play a lead human role such as Pedro Pascal (The Mandalorian, Game of Thrones, The Last of Us) for potential roles of Colonel George Taylor or John Brent.
It was revealed he would be reuniting with production designer Daniel Dorrance ((A Good Day To Die Hard, Maze Runner: The Scorch Trials, Maze Runner: The Death Cure, The Expendables 3) on Planet of The Apes 4.
We have to assume that Ball will also bring on Maze Runner: The Death Cure cinematographer Gyula Pados (Predators, Jumanji: Welcome To The Jungle, Jumanji: The Next Level), who has been working on David F. Sandberg’s DC Comics sequel Shazam! Fury of The Gods in Atlanta. Pados having extensive experience with exterior shoots would certainly make his addition to the project an asset.
How far along Planet of The Apes 4 is at the moment is unknown and when they hope to begin shooting.
Today, Netflix officially announced that actresses Zoe Saldana (Avatar, Star Trek, Guardians of The Galaxy) and Jennifer Garner (Daredevil, Elektra, Peppermint, The Kingdom) have been added to the cast of Shawn Levy’s sci-fi action film The Adam Project, which is said to include time travelling.
The ladies join fellow Marvel alumni Ryan Reynolds as filming began this week in Vancouver and is expected to complete in early March.
The Ronin can confirm that the Brian Smrz will act as the second unit director on The Adam Project and will be overseeing the film’s action sequences. Brian’s credits include X-Men 2, X-Men Origins: Wolverine, X-Men: First Class, X-Men: Days of Future Past, X-Men: Apocalypse, X-Men: Dark Phoenix, Iron Man 3, Terminator Genisys, The Predator, Rise of The Planet of The Apes, Ghostbusters: Afterlife, and Venom: Let There Be Carnage.
There is word that production designer Claude Pare (IT, X-Men: Dark Phoenix, Spider-Man: Far From Home) may have joined the crew as well.
This might suggest the film will skew more in the action realm.
Reynolds has been working closely with Netflix lately with their pricey action films 6 Underground and Red Notice. He previously worked with director Shawn Levy on 20th Century Studios’ Free Guy that had been bumped from a December release to sometime in 2021.
FREE GUY – A bank teller who discovers he is actually a background player in an open-world video game, decides to become the hero of his own story…one he rewrites himself. Now in a world where there are no limits, he is determined to be the guy who saves his world his way…before it is too late.
Netflix has yet to announce a release date for The Adam Project but late 2021 or early 2022 is a good bet.
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.
Despite original reports that Wes Ball’s new Planet of The Apes film would be a hard reboot of the franchise, the director has come out publicly to debunk that the film will be ignoring or undoing the work of the last three films.
While speaking with Discussing Film, Wes dropped an interesting tidbit about the creative team working on the new Apes film that includes Avatar 2 and Terminator: Dark Fate screenwriter Josh Friedman tackling the script.
BALL: “We were using the same material, the same kind of technology, we were using a lot of the same people involved – I had asked Andy Serkis to join Mouse Guard. So it was kind of natural fit. I understand where it came from and my big thing was: what do you do for a Planet of the Apes sequel? One, those last three movies are one of the great trilogies we have in modern movie history. They are just so well done. They honored the original movies they sprang from, the Charlton Heston movies, but they grounded it in a modern sensibility and it just worked. Caesar is one of the great movie characters that we’ll have throughout time. So what do you do to follow that up, right? At the same time, I wasn’t interested in doing a part four either. We want to also do our own thing.”
“We have a take. We have a way of staying in the universe that was created before us, but we’re also opening ourselves up in being able to do some really cool new stuff. Again, I’m trying to be careful here. I’ll say this, for fans of the original three don’t worry – you’re in good hands. The original writers and producers that came up with Rise and Dawn, Rick Jaffa and Amanda Silver, they’re also on board with this. Josh Friedman is writing this thing, a lot of the same crew is kind of involved. We will feel like we’re part of that original trilogy, but at the same time we’re able to do some really cool new stuff. It will be really exciting to see on the biggest screen possible.”
It sounds like that “technology” tidbit would infer that Weta Digital will be making a return for his incarnation. Weta had previously worked on all three of the recent films.
Interestingly enough, Wes worked closely with Weta Digital in the past on his Maze Runner sequels Mazer Runner: The Scorch Trials and Maze Runner: The Death Cure.
He was also set to work again with Weta for his fantasy film Mouse Guard before Disney and 20th Century Studios pulled the plug on it post-merger. The graphic novel adaptation was going to be produced by Matt Reeves with Andy Serkis taking a lead role as the villain.
The director also mentions they’re still in the scripting and production design phase of the film but could begin “virtual production” soon.
BALL: “Well, Planet of the Apes is moving forward and we have a giant art team cranking away on some incredible concept art. We’ve got the screenplay continuing to move forward, that will take the time that it takes and so that’s all good. Planet of the Apes is moving forward baby! Not only that, but we could actually be in virtual production relatively soon because it’s largely a CG movie.”
I’m really curious if they’re going to push the franchise deep into the future side of things. As the recent trilogy only covered the settings of the final films in the franchise that took cues from the final two installments, Conquest and Battle.
I think it’ll be interesting to see what the ape society looks like in two thousand years or at the very least a couple of hundred years. Wes can surely honor the look and legacy of the first three films while pushing the franchise in a new direction to give it new life along with showcasing what ape cities could like in the future. It also allows them to bring back Andy Serkis to play another chimpanzee character, not unlike how Roddy McDowall played Cornelius and then later on his son Caesar.
THE RONIN 