It’s been dubbed the year of James Bond: everyone’s favorite MI6 agent, 007, is returning to the big screen (Skyfall, the 23rd Bond film, is set for a November release–and be sure to check out the new teaser trailer), a Bond film Blu-Ray boxset will be out in September, and news just broke of director Duncan Jones (Moon, Source Code) signing on to direct a biopic about author and James Bond creator, Ian Fleming.

So far, the working title is just called Fleming, and it’s being adapted from the biography Ian Fleming: The Man Behind James Bond which was written by Andrew Lycett.  Jones has personally expressed his interest in the author, stating:

“Fleming lived through one of the most perilous periods in world history, in a position that allowed him a unique vantage point of all the players, all the stakes. He witnessed true heroism first-hand. And he saw the evil men could do. Then, when the war ended, he went off to write fiction. The essential question for me is: Where did Ian Fleming end and Bond begin?”

With insight like that, it’ll be interesting to find out where Jones plans to take this – sounds like it could be a passion project for the talented filmmaker, which should hopefully translate into a great film.

Fleming is being developed by K5 Film‘s Oliver Simon and Daniel Baur, PalmStar Media Capital and Liberty Films. The script was written by Matt Brown, and the film is due to go into production this year, with Jones already working on casting.

Ian Fleming and 007 fans will be eagerly awaiting more details on the developing story, including who is cast, and just how much of Fleming’s life as a Naval Intelligence Officer and as an author the film will cover.

Check back to keep up to speed with the details as they emerge.

Are you excited about an Ian Fleming movie?

Source: FirstShowing

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The loss of Gary Ross as a director of The Hunger Games sequels has been absolutely devastating for devoted fans of burgeoning franchise. As a rabid fan myself (and as a friend of many other rabid fans), I can’t even begin to tell you how crestfallen we are. Ross was truly one of us – an ardent admirer of the series who happened to also don a director’s cap. His respect for the source material was well known, which is why many supporters trusted him with Suzanne Collins’ words. Now, we’re all left scratching our heads and anxious about what’s to come.

Still, the beat must go on, and I have to put my optimism and faith in the people at Lionsgate. They did it right the first time; they can do it right again. Having continuity through the entire film franchise would have been the best-case scenario, but tributes can’t be choosers. And there are plenty of directors who might just be able to fill Gary Ross’s shoes, while maybe adding a few sprinkles of their own magic. Here is my list of people who could realistically take over (otherwise Martin Scorsese would be on here):

1. Steven Soderbergh

Soderbergh is the obvious best choice because his fingerprints are all over the franchise already. Brought in as a Second Unit Director on the first film, he commandeered one of the finer scenes in the picture: the rebellion sequence in District 11. It was a hailed by critics and fans as a flourishing addition, and his talent as a director was on full display.

Soderbergh’s credentials are also impressive. Not only is he close with Ross, but his accomplishments are considerably superior. Director of Erin Brockovich, Traffic, Ocean’s Eleven, and Contagion, he clearly has the chops. The only concerns about him are his rumored casting preferences (Alex Pettyfer for Finnick? No thanks!) The other problem is – and this will be a common theme – he is allegedly too busy to step in on such short notice.

2. Kathryn Bigelow

The former wife of James Cameron is a hot commodity these days after winning the Oscar for Directing with Iraq-war sensation The Hurt Locker. As the first and only woman to snag the award, it puts her in extremely elite company, and what better way to further the message of female empowerment than to put Katniss Everdeen in her hands? With The Hurt Locker, Bigelow demonstrated her ability to tackle violence and war, which she could display in spades during Catching Fire sequences.

It’s unclear whether she would be interested, but Lionsgate should certainly extend some overtures. One big problem: She’s currently working on Zero Dark Thirty, a film about the Navy Seals who tracked down Osama bin Laden. Timing could be impossible.

3. Ang Lee

Known for lauded films like Brokeback Mountain and Crouching Tiger, Hidden Dragon, perhaps my favorite rendition of his was actually Sense and Sensibility, where he so deftly tackled Jane Austen’s nuanced text. That ability to adapt from novel to screen could serve him extremely well here with Catching Fire. Throughout his career, Lee has proven his versatility – the kind of versatility needed for the District 12 scenes, coupled with the violence in the Arena. Imagine the mountains of Brokeback juxtaposed with the combat of Tiger. It does seem like a great fit.

However, critics might question his tendency for slow pacing. After all, his target market is made up of mostly young adults, who may not have the patience for his scenic deliberation and andante tempo. To be successful, he would have to adopt a more electric style. I think he can do it.

4. Brad Bird

I’ve been throwing Bird’s name out anywhere and everywhere, because so far his track record has been simply phenomenal. The architect behind two Pixar gems (the exhilarating The Incredibles and the culturally resplendent Ratatouille), Bird also showed his mastery over the live action technique with Mission Impossible: Ghost Protocol, a herculean effort that resurrected what appeared to be a dormant franchise. So far, he has earned platitudes from every sector, for both a steady hand in the director’s chair and an intelligent appreciation for artistry.

My concerns are twofold: 1) The lack of experience, but more importantly, 2) Would he respect Collins’ source material enough? The fact that there’s a question mark on the latter makes me hesitant to throw my whole heart behind him. All of his previous efforts have been self-constructed – would he do right by Collins and the fan base? I think he would, but I don’t have proof, and in these harrowing times, reassurance is needed.

5. Duncan Jones

Now here’s a candidate I could realistically see taking over. Jones is a hot name in fan circles and for good reason: his first two flicks have been categorical successes (Moon and Source Code). In both cases, he managed to feature science fiction topics and make them stimulating (in the case of Moon, with basically one character). Source Code was hardly on the silver screen radar, but it proved to be a frenetic, down-to-the-wire picture – just the kind of suspense-building Catching Fire could use.

The cons? He’s still relatively unproven, and to pick him might be a serious gamble. Then again, it’s a gamble that could pay off with huge dividends, and he might just appreciate the opportunity more than the others above. His availability is also a major plus, but the question of the hour: Is he as much of a Hunger Games fan as Ross, and could he work directly with Collins?

6. Joe Wright

Wright has quite the accomplished record, dazzling viewers (including me) with Pride and Prejudice in 2005, and going on to garner tremendous acclaim for Atonement. He also integrated music and style extraordinarily in Hanna, which has caused some to recommend him for Catching Fire (since it’s a similar genre).

I absolutely loved what he did with Pride and Prejudice, but I have some serious holdups. Would he be willing to direct Catching Fire the way the fans want? I’d expect him to bring his own unique vision, which could be spectacular, but it also could stray far too much from the basic story. While that might delight ambivalent filmgoers and reviewers, the franchise has an obligation to appease Collins and her fans. This is dangerous territory, but it could also turn out magnificently.

7. Florian Henckel von Donnersmarck

What can you say about a director who spearheaded one of the greatest movies of our time (The Lives of Others) and then an awards-show punchline (The Tourist)? I’m inclined to give German pioneer von Donnersmarck the benefit of the doubt, especially since The Tourist’s flaws rest less with the directing and more with the laughable plot. These are highly skilled hands, and von Donnersmarck’s attention to detail seems right up Ross’s alley.

Of course, it would be a huge risk to take on a foreign director who may not even have familiarity with the series. He makes my list, however, because of his incredible talent and the possibility that he could bring The Hunger Games franchise to a new level of grandeur.

8. Debra Granik

Granik is really known for one great movie: Winter’s Bone. Coincidence that it’s the film that put Jennifer Lawrence on the map and drew the notice of Gary Ross (who confidently cast her as Katniss)? Clearly, the two of them work wonderfully together, and the setting in Winter’s Bone has some striking similarities to The Hunger Games’ District 12. This could be a match made in heaven.

If you thought any of the previous suggestions were unproven, however, Granik takes the cake. She has never worked on something in the limelight like this, and one wonders if her inexperience with action sequences could stunt the series. It’s definitely a risk, but it could be one worth taking in light of her rapport with Lawrence. (And let’s face it – this movie hinges more than anything on Katniss.)

9. Tom Hooper

Now here’s a case of a scorching hot director who has never attempted a picture quite like Catching Fire. He’s so low profile, in fact, that most people probably have never heard of him – even though he’s just one year removed from winning an Oscar for The King’s Speech. Hooper would be a peculiar choice, but he has performed beyond the call in every project he’s ever directed. This includes a string of exceptional miniseries: Daniel Daronda, Love in a Cold Climate, Elizabeth, and John Adams were all extremely well received.

Hooper is not my top choice for obvious reasons, but I wouldn’t be surprised if he had it in him to dazzle everyone. You could certainly do a lot worse, and you may not be able to do better.

10. Cary Fukunaga

This is my dark horse selection. I doubt he’s on anyone’s short list, but maybe he should be. Fukunaga did a stellar job directing two recent films: Jane Eyre and Sin Nombre. With Jane Eyre, Fukunaga showed incredible loyalty to Charlotte Bronte’s text, more so than in any previous adaptation. That’s the same kind of devotion Hunger Games fans would love to see in Catching Fire.

This would be a much greater challenge for him in his young career, but it could also be a springboard into fame and recognition. He probably wouldn’t assuage everyone’s fears right off the bat, but in time, he might just be the right ingredient to continue Ross’s superlative vision.

Alternates:

Ron Howard, Robert Redford – Both would be what I would define as “safe” picks. In other words, you could count on them to stay true to the story, but they probably wouldn’t connect with the core fan base the way some of the others could. Redford especially is a lot more capable than people realize, directing Quiz Show with profound intelligence and grace.

Absolutely Nots:

• Alfonso Cuaron – His name is being floated out there far too often for my tastes. Ask any fervent Harry Potter fan and he/she will tell you what a nightmare Prisoner of Azkaban was. Cuaron is an OUTSTANDING director, but he makes all his films far more about his own artistic interpretation than the material he’s working with. Cuaron would be a dream director for non-fans and an apocalypse for lovers of the books. STAY AWAY!
• Michael Bay – Does this even need an explanation? Sure, he would be great at having things blow up in the Cornucopia, but you may as well forget about depth and acting. That he is being mentioned at all is frightening.
• Catherine Hardwicke – If there is one thing The Hunger Games franchise should unequivocally avoid, it’s having ANYTHING to do with Twilight. Under Ross’s fine direction, The Hunger Games has come out of the gate drawing little comparison to the much maligned Twilight series, and keeping away from directors like Hardwicke would ensure that continues. Plus, if Lionsgate were even to consider Hardwicke (she is among the rumored choices), the fans might just burn down the studio. We don’t need a literal case of “catching fire” before Catching Fire hits pre-production.

Who do you think should replace Gary Ross on Catching Fire?

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This week in theaters you’re in for a real treat, Duncan Jones, the director of the 2009 Sci-Fi masterpiece, Moon is back with his mainstream action-thriller, Source Code (read review) starring Jake Gyllenhaal. The film won’t disappoint those who came to love his first work, but definitely appeals to a much wider audience. There was a lot of pressure on Jones to deliver after his first success and thankfully he’s done so. Though this his not his Blade Runner, something he’s been talking about making since our last interview with him two years ago, he’s definitely taken a strong step towards it.

Find out how he stays away from falling victim to the usual action/thriller cliches, why taking a detour in life helped him as a filmmaker and some fun extras to look for in the film below…

Tackling the Project:

What did you learn? You’ve taken a big step from Moon, in a lot of ways, but at the same time there’s a certain essence that you have certainly established as your tone, your filmmaking style. What have you learned from making this film?

Duncan Jones: From making this film, I think it’s on a production level. When you’re working on a bigger budget and obviously this is a bigger one, you have a huge responsibility because you’re speeding millions of dollars of other people’s money, and you have to find a way to really bring everyone with you. Obviously you need to make sure that your cast is with you, that’s not a problem, and obviously there’s your core — heads of department and crew who are obviously by you and with you. But there are producers and the money side of things, and there’s this bigger group of people that you have to deal with, that I didn’t have to deal with on an independent film and I had to learn quickly how important it was to not fight them, but convince them. I think that was what I learned on this and I got there pretty quickly, but still it’s a learning curve that you have to go through.

Is that something that you enjoy? Is that something that you’re looking forward to? Are you already envying the days of Moon?

DJ: No, no. It’s something I actually went through a lot when I was working in advertising because in advertising you have clients and you have agencies that you’re working with and you do that all the time, you’re always having to explain things and bring them on and make sure that they feel excited and happy with what you’re doing. But when I did Moon I felt like, oh you don’t have to that on movies, this is great, this is like you do whatever you want. and I had that very fortunate experience on Moon and then Source Code was kind of like a reality check that, in the real world, when you’re working with bigger amounts of other people’s money, you do still have to that. I had to put that hat back on. Fortunately, it’s not difficult to do, you just have to keep on top of it.

Were you overwhelmed at all by this script, because it does repeat itself over and over and over again, even though it’s a different “Source Code” and it’s slightly different, that it could be boring?

Duncan Jones: Absolutely. That was my biggest fear when I read the script was the repetition is intimidating. How do you get through that without the audience halfway through feeling like, ha, I know what’s coming, I’ve seen this before? There was a few things that we had to do, that I felt I had to do: one of them was making sure that I broke down the repetition on a chart to ensure that visually we were able to distinguish each recurrence from the other, so that there was no repetition visually, and also narratively that there was always something new happening.

Once I’d broken it down and been able to decide that we were going to shoot on a set for a train instead of on a real train because I wanted to be able to move the cameras in different ways and have access to angles that we wouldn’t have had on a real train, I think all of a sudden I felt much more comfortable, that it was possible to tell this story even though it was the same event in a different way every time, and sometimes even move it to different parts of the train, so when you watch the film at the end of it you don’t feel like you’ve actually seen the same thing twice.

Is it enjoyable for you to know that I walked out of the film with five different people and we all saw, in a way, five different endings? Is there one answer?

DJ: I believe there’s one answer. It’s great for audiences to talk about the ending. I never followed up to actually see — I remember everyone being so excited about the ending for Inception and discussing what it all meant. I can’t remember if [Christopher] Nolan actually ever addressed it or ever tried to clarify it for anyone.

I don’t think he ever did….

DJ: Yeah, yeah. That’s interesting. I definitely know there’s a correct interpretation, in my mind.

(Jones then went on to tell me what he believes is the true ending, I’ll have this posted in a few weeks once everyone has had a chance to see the film!)

Being an Actors, Director:

You did a great job of that. Can you talk about working with Jake? You got the script because Jake said he wanted to work with you. How did that feel?

DJ: It was fantastic. I was actually on the international part of the press tour for “Moon” at that time. I had the chance to stop here in L.A. and meet some of the people I really wanted to work with and Jake was on the top of my list. Fortunately he’d seen “Moon” so he took the meeting. We discussed projects that we could work on together, and he was the one who suggested I read “Source Code” and I got very excited about it. My interpretation of the script was that it’s got fantastic premise and science fiction conceit to it, and I loved the pace of it. I felt that maybe it took itself a little too seriously and I would love to lighten the tone and inject some humor into it. Fortunately Jake felt the same way, so we knew that from that point on we were approaching it collaboratively and from the same perspective.

We were talking with Jake Gyllenhaal about what differentiates your films from a lot of the other genres is that you actually let your actors act, and you actually give them full scenes to act in; it’s not about catching a line. Can you talk about the importance of why that makes such a different experience for the viewer, and why that’s important to you?

DJ: I can’t remember who I heard talking about this, but directors don’t actually get to see other directors direct, which is really an interesting thought. A lot of actors who become directors have the opportunity to work with other directors and see how they work. I just assumed that this is what you do, is that you let actors act. You try and give them as much freedom to get into their rhythm and their groove, and do what they do, and then when you get to the edit that’s where you pick out the best bits and put it together. I did talk to Jake about this, and he said, “Not everyone works like that. Some people just want one line or one movement, and then cut, and they’re on to the next thing.” But I wouldn’t know how to do it any other way. I work with actors I respect and admire because I want to let them do what they’re good at.

In these stories that you do it seems like the actors doing human emotions are your special effects in lieu of the spectacle that we might see in some blockbustery movies. Is that the approach that you want to continue taking, or would you like to have all those whiz-bang toys that say, Michael Bay gets to play with one day?

DJ: Why Michael Bay? Why not Chris Nolan? I think you can do them both. I think you can have great performances from – I think you can spend time getting the right cast and getting great performances from them, and then back them up with a vibrant and exciting visual world. Ridley Scott does it. I respect those directors who are able to do that. I love “Twelve Monkeys” by Terry Gilliam. I love Luc Besson’s “The Professional,” “Léon”. I like visual storytellers. To make films, you want to make characters and have performances that the audience is going to relate to and care about and empathize with, so I think that has to be the priority. The rest of it is making it seamless and a world that the audience feels captured by.

I was so happy when the SXSW poster for “Source Code” was put online and I saw a new poster for “Moon”. Is it nice to see that “Moon” is having this next life along with this film?

DJ: Wow. That is great. I had an extraordinary piece of luck in that I was able to work with Sam Rockwell and he was willing to give everything to that film. I really feel like I got the best of Sam Rockwell. I feel bad for everyone else because I think I sucked out some of the best out of him in that film. He’s an amazing actor and a fantastic guy. It wouldn’t have worked with anyone else.

Becoming a Director:

Does having all the accomplishment in your family add to that, trying to figure out that one thing you’re supposed to be doing so well?

DJ: I think I probably could have let it go if my dad hadn’t said, “You’ve got to find the passion in your life,” which was a gift and a curse, because I completely agreed with him, but it meant that I really had a long hunt to try and get the right thing for me. It’s a real struggle; I know how difficult it is. Some people are very, very lucky and they find the thing that they really want to do early on in life. It took me a long time to come to terms with it and actually go with it.

When did you decide to become a director? What inspired and influenced you?

DJ: It started at a very young age, but I took a big detour. My dad and I used to make short films when I was a kid; little one-stop animations with an old 8 mm film camera, and he actually taught me how to splice and tape together film when I was a kid. I was 7 or 8 years-old, I was doing that. Then I went off into academia for a very long time, went off to college and graduate school studying philosophy. I reached a point where I either was going to become a teacher or I was going to leave graduate school, and that was the point where I decided to take an opportunity I had to work on a shoot that Tony Scott was doing in Montreal to come and work as a wild-cam operator; a camera operator who doesn’t have sync sound.

I did that and was working with him in Montreal for three weeks, and had an amazing experience there. He was very, very generous with his time and talked to me in-between takes about how he got involved in the film industry, and the fact that he started off in commercials, and he was actually the one who suggested, “You obviously don’t want to do philosophy, why don’t you go to film school and work in commercials?” So it was like an epiphany; it was like an explosion in my head and I said, “Yeah, why am I doing this?” And I went back to London and I went to film school and I worked in low-budget music videos and commercials and ten years later I made “Moon.”

Do you think there’s another Duncan Jones in another dimension that’s still teaching?

DJ: I think he’s probably already killed himself. [LAUGHS]

How did you get the job with Tony Scott?

DJ: He was working with my dad at the time. He had a TV show called “The Hunger” and the first season I think Terence Stamp did the first episode and then he would do the joining pieces between the episodes, and then the second season my dad did the first episode and then the joining pieces. So they were going to be shooting up there for three weeks and Tony and my dad said, “Come take a break from graduate school.”

There’s a level of intelligence in your films that aren’t in a lot of other thrillers. Is that just your background? Is that your experience?

DJ: I don’t want to be — I don’t want to be stuck in being — I try to make the films that I find interesting and I can’t help getting excited about ideas and hopefully they’re entertaining. I don’t want make smart films [laughs], I just want to make films that I film interesting. Sometimes it works out that way, sometimes — I have a pretty dumb sense of humor as well, so sometimes, it’s just really that balancing act. You have to try to find the things that make you excited and make you laugh and make you say, “Wow! I haven’t seen that before.”

Working Towards His Blade Runner:

The last time I spoke to you, I asked, “What’s next?” And you said, “I’m making my Blade Runner.” Is this your Blade Runner?

DJ: Source Code? No. Source Code isn’t my Blade Runner. No, no, no. Absolutely not.

So you still have your Blade Runner in you?

DJ: Trust me, you’ll know it when it’s my Blade Runner [laughs].

So what is this step with “Source Code”?

DJ: This step was a unique, perfect -time opportunity — a perfect time and place. I met up with Jake [Gyllenhaal]. I really wanted to work with him. I think he’s a fantastic actor. I really can’t state that enough. I really really wanted to work with him. He was the one who introduced me to the Source Code script and I thought, you know, there’s something I can do with this. I think there’s a lot of opportunities to show some things visually, to work with an ensemble and to work with Jake on something, and I just had to grab that opportunity. Now that I’ve had that and I’ve experienced it and enjoyed it, I would love to do my Blade Runner. So hopefully now I’ll get the chance to do that.

Do you know how you’re going to do that?

DJ: Oh yeah. It’s going to be so much fun.

So have you had it in your head this whole time?

DJ: Oh yeah, yeah, yeah. Actually, while we’re doing this press tour, I’m busy writing the script right now.

That must be keeping your creative imagination going.

DJ: It’s fun. I’m very excited, it’s going to be great… I think [laughs].

Fun Trivia to Look For:

This is a little bit of arcane trivia, but Scott Bakula did the voice of Jake’s father. Was that an intentional nod to “Quantum Leap?”

DJ: Oh, massively, yeah. In fact, if you pay close attention to the dialogue, and we actually managed to slip in there him saying, “Oh, boy.” I think the fact that we got away with that is probably the thing I’m most proud of all in this film.

Does anybody pick up on that?

DJ: Some people do, some people don’t. It’s subtle, and like I said, the “Oh, boy” was the thing that I was not sure about, would we get away with that, but he did a few versions and I think we got it just right, that it just slips past most people.

Are there other little nods to other things, like maybe “Groundhog Day?”

DJ: No other films. That was the only show. There’s a little nod to “Moon” in the ringtone that Christina has. There’s a song that plays, and that’s the same song that Sam Bell’s alarm clock is in “Moon.” That’s it.

Check out Source Code in theaters April 1st (no fooling!)

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Visionary director Duncan Jones is back with Source Code a film that maintains the intellect and sophistication of his first work Moon, but this time with whole lot more punch.  His latest film somehow manages to appeal to mainstream audiences with pace, action and effects, without losing the details, story and character development that we loved in Moon. Truly it’s the best of both. A number of directors fumble on their second films after having their first film have such an impact. Many people questioned Jones but any doubts that you might have are blown away by the time you’re finished with the opening sequence of Source Code.

Watch out JJ and Nolan, you’ve got some serious competition in town that’s ready to take you on…

The Players:

• Director: Duncan Jones
• Writer: Ben Ripley
• Actors: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright
• Original Music by: Chris Bacon
• Cinematography by: Don Burgess

The Plot:

I don’t want to tell you. It’s a sci-fi film about two people on a train — that’s really all you need to know.

The Good:

• The Pacing: The film begins with a jolt and keeps moving until the credits roll. There was absolutely no time to think about whether or not this film lagged because you’re so involved as to what will happen next. There’s hardly even time for popcorn in this bad-boy!
• The Acting: If there’s one thing that’s for sure, it’s that Duncan Jones’ asks a lot of his actors and when cast right he gets a lot out of them. It’s hard to single out any actor because all of them played their roles so well. Some had to cover their emotions, others were more over the top, all of them had a serious set of challenges in front of them and it was nice to see them all put to the test, succeed and give us a real show .
• The Twists: I pride myself on predicting the ending of films and I even thought I had this one pegged and then it threw me and I couldn’t have been more pleased. Perhaps it was because I was so engaged in the story or maybe it was because they made great choices — any way you cut it, great twists always come down to great writing and it’s obvious that this film had a great screenplay to set up the rest of the film for success.
• Similar to Moon But Different: I can’t get too in-depth on this without giving too much away and I would hate to ruin such a great experience for you, but there are a number of interesting similarities to Moon (which I will write about on a later date when people have had the chance to see the film) that were nice to see back on screen. There wasn’t enough repetition for anyone to feel like Jones was repeating himself, but enough to draw parallels to themes and characters that he obviously enjoys dissecting. Which leads me to…
• Why That’s Good: Not enough people saw Moon, so hopefully after they see this film and know that it has some strong, enjoyable parallels it will finally receive the wide audience it always deserved.

The Bad:

• Zip, zero. Go see it!

Overall:

Go see this film. You should have seen Moon - if you didn’t, it’s time to experience the brilliance of Duncan Jones; if you did you will not be disappointed with his second film. This is a bigger, more mainstream Duncan Jones film, but it somehow manages to maintain the intellect and sophistication of his first work. It’s not quite as raw (which is something I love) BUT it’s much more accessible without being dumbed down. It’s without a doubt the best sci-fi, action thriller you’ll see this year –  very few directors are able to make such a big film and still remember the small details that make film worth loving. Don’t miss it!

Rating: 9.25/10

Source Code played opening night of SXSW March 11th and will be in theaters April 1st!

Photo Gallery:

Trailer:

I’m not putting the trailer into this review because there are too many spoilers. If you really need more convincing you can watch the trailer here.

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After the critical success of his 2009 film Moon, all eyes have been on Duncan Jones to see if he’s a one trick pony or the real deal. His latest film is entitled Source Code and it’s a sci-fi flick that stars Jake Gyllenhaal, Michelle Monaghan, and Vera Farmiga. Over at Apple, they’ve released the first trailer for the film and we’ve got it for your viewing pleasure right here. Check it out…

Official Synopsis:

When decorated soldier Captain Colter Stevens (Jake Gyllenhaal) wakes up in the body of an unknown man, he discovers he’s part of a mission to find the bomber of a Chicago commuter train. In an assignment unlike any he’s ever known, he learns he’s part of a government experiment called the “Source Code,” a program that enables him to cross over into another man’s identity in the last 8 minutes of his life. With a second, much larger target threatening to kill millions in downtown Chicago, Colter re-lives the incident over and over again, gathering clues each time, until he can solve the mystery of who is behind the bombs and prevent the next attack.

This is like Groundhog Day for sci-fi fans. Doesn’t it seem that towards the end of this trailer they try to make the film look more action heavy than it probably is?

Source Code hits theaters on April 15, 2011.

What do you think of the trailer for Source Code?

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After making a splash with his science fiction drama Moon in 2009, Duncan Jones has returned with an equally out of this world follow up called Source Code. The film tackles the subject of time travel and stars Jake Gyllenhaal as the man at the center of a highly complicated story. The official synopsis for the film has been revealed and we’ve got it right here below. Take a look…

Be warned this is a pretty thorough breakdown of the plot, so if you don’t want to be spoiled in anyway you might want to steer clear of this until later. But if you have no reservations and you need to know now, here it is:

Official Plot:

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Now that Jake Gyllenhaal has scratched his superhero itch with Prince of Persia: The Sands of Time, he can move on to movies that actually matter. He headlines Duncan Jones’ latest film Source Code, a thriller that co-stars Michelle Monaghan and Vera Farmiga. The first photo from the movie appears in Empire Magazine, and we’ve found a scan of it courtesy of Wet Dark and Wild. Check out what Jake is holding in his other hand below…

Source Code is a time traveling thriller that centers on a soldier (Gyllenhaal) who, as part of an experimental government program to investigate a terrorist incident, finds himself in the body of an unknown commuter living and reliving a harrowing train bombing until he can find out who is responsible for it. Farmiga plays a hands-on communications officer controlling Gyllenhaal as he travels through time, and Monaghan is a fellow passenger and his love interest.

This story sounds intriguing and terrifying at the same time. Talk about the Groundhog Day from hell! Who wants to relive a bombing over and over again?

Source Code is slated to hit theaters on March 11, 2011.

What do you think of Gyllenhaal in Source Code? Are you interested in seeing the film?

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I want to do my Blade Runner, which is like a future Berlin film, which is like a thriller, but it’s much deeper characters, I think.

Not long ago this was one of Duncan Jones replies when I asked him “So what’s next?” in a one-on-one interview for Moon. Well Mr. Jones, if that was your goal was, from the looks of your first piece of concept art to hit the web for your upcoming sci-fi thriller Mute, you’re definitely on your way!

Check out the photo below…

Below the photo on Liberty-Films, where the photo was released, it stated that the film is currently in development, with writers Duncan Jones (Moon) and Mike Johnson (Sherlock Holmes), with Jones at the helm. It also stated:

Project currently in preproduction and set to shoot in Berlin early 2010 with Studio Babelsberg.

As you might have guessed, I am one of Jones’ biggest fans. I was completely blown away by his film Moon, which was one of the best films so far this year competing only with Up, Drag Me to Hell, and The Hurt Locker.

The colors, the drama, everything about this photo gets me excited for the film to get going. Hopefully he won’t fall victim of the curse of the second film, in which a director gets overwhelmed and instead of following their gut listens to others and ends up making a middle-of-the-road film which doesn’t live up to the first

I have hope for Jones! I think he can deliver! Do you?

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British director Duncan Jones is prepping a $25 million, sci-fi thriller titled Mute. The movie will be Jones’ follow-up to his indie-debut film about isolation in outer space, Moon.

“Moon is about alienation and isolation,” Jones told Screen Daily.com. “The next one will have a different vibe. It’s not about one actor on their own, it’s an ensemble piece.”

Stuart Fenegan, who produced Moon and will work with Jones again on Mute, tells Screen Daily.com:

“Mute is about a woman whose disappearance causes a mystery for her partner, a mute bartender. When she disappears, he has to go up against the city’s gangsters.”

Duncan is presently receiving numerous plaudits for Moon, which won the Michael Powell Award for Best New British Feature Film at the Edinburgh International Film Festival this weekend.

“We award Moon for its singular vision and remarkably assured direction as well as for the inspired manner in which it transcends genre,” reads the festival’s jury citation. “The central performance by Sam Rockwell embodies the film’s emotional complexity and compelling philosophical perspective.”

Filming of Mute evidently will start in early 2010. Jones is also scheduled to direct World War II submarine thriller Escape From the Deep next year.

Source: Screen Daily

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Finally, Duncan Jones is starting to get some recognition for his amazing film Moon starring Sam Rockwell! His low-budget masterpiece just won the Michael Powell Award for best new British feature at the Edinburgh Film Festival this past weekend. The panel was not a easy one to win over, Joe Wright and Frank Langella were two of the five panelists who voted for the film.

Also, 18 year-old Katie Jarvis who one big at Cannes Film Festival for role in Fish Tank, also received praise from Edinburgh. She took home the honor Best Performance for her role in the film. According to Empire she said: “This has been an amazing year for me in more ways than one,” she enthused. “I was lucky enough to spend my 18th birthday in Edinburgh last week, where Fish Tank was shown, and this is such a great present.”

Check out the full list of winners below…

Michael Powell Award for Best New British Feature Film
Moon – Directed by Duncan Jones

PPG Award for Best Performance in a British Feature Film
Katie Jarvis – Fish Tank

Best New International Feature Award
Easier With Practice

Standard Life Audience Award
The Secret Of Kells

Best Documentary Award
Boris Ryzhy

Skillset New Directors Award
Cary Joji Fukunaga

The Rotten Tomatoes Critical Consensus Award
Humpday

UK Film Council Award for Best British Short Film
After Tomorrow

Best International Short Film Award
Princess Margaret Blvd.

Scottish Short Documentary Award
Peter In Radioland

McLaren Award for New British Animation
Photograph Of Jesus

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Now that you have had a chance to see Duncan Jones‘ film Moon, starring Sam Rockwell, check out the details behind how he was able to pull off such an extraordinary looking film with such a minuscule budget. Due to his commercial background in special effects, he was able to make the moon come alive without all the fancy equipment other Directors have.

What’s the secret to his success? Nothing more than photoshop, find out more below…

***Note: There are some slight spoilers below. If you’re looking to see the film without knowing how it was made (which I would highly recommend), save this post for after you have seen the film.***

To begin with the landscape shots they had to build a mini-set:

So we used model miniatures, we built a piece of lunar landscape about 30 by 40 feet, not much bigger than this room actually. And we had sort of these Tonka trucks style models that we were dragging across the landscape with fishing line. We had an amazing company called CineSite, and they were able to clean up all of the stuff that I was able to shoot in live action. But it was really that hybrid of shooting as much as I could in camera and then being able to work on top of it afterwards, which really gave us the kind of unique look that I think we’ve got. And allowed us to make something that didn’t feel like a little independent film that was stuck in one sound stage.

How did you create the depth to all of the stars, the moon, the earth and everything else?

Jones: Basically—you ever use photoshop? The nice thing about photoshop is that everything gets broken up into layers, and you can isolate those layers, and when you start thinking that way, when you are working in special effects, all of a sudden all of those things become possible. It’s just a matter of working out—basically imagining a shot in your mind and then working out how to make that shot by breaking it up into separate layers. And then compositing those layers together to create the shot.

So, if you want the moon surface with a satellite gliding over it, you shoot the moon surface first with a little model or with a piece of photography of the moon that you have sort of adjusted and then you shoot your satellite and then you stick your satellite on top of the lunar landscape and all of a sudden you have this nice model of the satellite going around the lunar surface. There are all sorts of ways that you can—that’s really the special effects background and that is what I use to do in commercials for such a long time that makes me think that way, I kind of know how to do that.

See! Anyone can do! Just find yourself $5 million and you’re set!

Further Reading:

• Exclusive Duncan Jones Interview Part 1
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Duncan Jones‘ first feature film, Moon, starring Sam Rockwell with the voice Kevin Spacey, hits theaters today, June 12th. If I could recommend any film to you this year, it would be Moon. It gets me excited just thinking about it. It has everything, drama, intensity, visual effects, and most importantly a greater meaning for you to walk away with.

What’s funny is that this film is being released the same weekend as The Taking of Pelham 1 2 3 which is the exact opposite film. For however pointless and tiresome Pelham is, Moon is equally as meaningful and intriguing.

Check out the good, the bad, and the plot below…

The Plot:

Sam Bell (Rockwell) works for a company named Lunar, mining Helium 3 from the moon. He’s been a faithful employee with no direct contact with anyone aside from a robot GERTY (Kevin Spacey) on board for three long years. In two weeks, his tour of duty is over and he finally gets to go home to his wife and child and retire for the rest of his life. Just before he’s about to go home, Sam starts seeing and hearing things and begins to not feel well. When a routine extraction goes horribly wrong he discovers that things are not quite as they seem and he’ll have to figure out what’s wrong before his contract expires.

The Good:

• Working the Genre: I am the first person to admit that I don’t like Sci-Fi films because in the past decade or so, the terminology and effects over-ride the characters and more often than not, they come off as cheesy. Not in this film. This film is reminiscent of classic Sci-Fi films like 2001, where Sci-Fi was used to ask greater questions. The character study and moral questions that arise in Moon, are really what this film is about. It let’s the Sci-Fi aspect of it be a part of the film, but not the driving force.
• The Acting: Basically the only person we see on screen for the entire 97 minutes is Sam Rockwell. Very few actors are interesting enough to watch for that long, luckily Rockwell is one of them. He wins you over immediately with his charm and yet you never know exactly what to expect from him and you are intrigued by him from start to finish.
• The Story: Often times when you’re dealing with space travel, hallucination, and Sci-Fi, things tend to get confusing. Although you will have moments when you’re thinking “what the f*ck is going on?” you do so in a good way. He leaves confused just long enough for you to feel a pay off at the end, with the character in the film.
• The Ending: Without wrapping things up in a nice little bow, Jones gives a satisfactory conclusion that allows you to walk out of the theater feeling fulfilled and yet still inquisitive.
• The Special Effects: Completely believable which to me is completely unbelievable. This film was made for $5 million and yet it could go toe-to-toe with movies with ten times the budget. It’s beautiful to watch.
• The Directing: I think Duncan Jones is about to be the new director to watch out for. I could say that he’s shown the potential to make some of the greatest films of all time, but if you ask me, he already has. I think that once Hollywood grabs hold of him he will be the next Stanley Kubrick, James Cameron, you name it. From the story and special effects, to the acting and overall tone, this film is great.

The Bad:

• It’s Not Crap: And some of you seem to love crap movies (that’s right, I’m talking to you Paul Blart fans). This is not a pointless action thriller, if you want that go see The Taking of Pelham 1 2 3. It makes you think, it questions you, and don’t get me wrong, it is a fun ride, but it’s not stupid slap-stick comedy that will have over the top action and stupid jokes every 30 seconds. It’s a FILM.

Other than that, I honestly have nothing negative to say about this film. I absolutely loved it. I think it caters to a variety of different audience types and although it may not be playing everywhere, it’s definitely finding and driving a few extra miles to.

Rating: 10/10

Further Reading:

• Exclusive Duncan Jones Interview Part 1
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