Gutierrez's Untitled Kung Fu Space Western

Total Page：16

File Type：pdf, Size：1020Kb

Gutierrez's Untitled Kung Fu Space Western

Photo Credit ©2015 Reel FX REEL FX ANIMATION STUDIOS RE-TEAMS WITH THE BOOK OF LIFE FILMMAKER JORGE GUTIERREZ FOR MULTI-YEAR DEAL Gutierrez’s Untitled Kung Fu Space Western Will Join Studio’s Growing Development Slate (Dallas, Texas and Santa Monica, California – February 18, 2015) Reel FX Animation Studios, the company behind the Golden Globe-nominated The Book of Life, has entered into a multi-year, multi-picture deal with the film’s writer and director, Jorge R. Gutierrez. The first animated feature under the deal will be an Untitled Kung Fu Space Western, which Gutierrez will direct from a script he is writing with Douglas Langdale. Reel FX's Brad Booker will produce the film. Gutierrez and Chatrone LLC will also produce alongside Booker. Sandra Equihua will oversee the character design. Gutierrez has moved to Dallas to work on the project out of Reel FX’s studio. The Untitled Kung Fu Space Western joins Reel FX’s growing development slate, a few of which are: Monster on the Hill, based on the book by Rob Harrell, written by Matt Lieberman; Giant Girl, based on a pitch by Reel FX story leads Bob Logan and Paul Fisher; and WISH Police, based on a short story by Daniel Nayeri, written by Ethan Reiff and Cyrus Voris, with Headless Productions attached to direct. Steve O’Brien, CEO of Reel FX said: “At Reel FX, we are building a home for creative filmmakers to bring their ideas to life. We are excited to partner with Jorge once again as we build on our success with The Book of Life.” The Untitled Kung Fu Space Western centers on one of the galaxy’s most charming outlaws, the leader of a funny, ragtag crew of rebel bandits that are put on a collision course with a legendary villain to determine the fate of the galaxy. Jorge Gutierrez added, “Our heartfelt film will be a funny mash-up of some of my favorite influences: ‘90s Kung Fu films, Spaghetti Westerns of the ‘60s, and the epic Space Adventures of the ‘70s, ‘80s and today.” Reel FX launched its feature length development and production slate in 2010 after almost 20 years of experience as an award-winning one-stop studio for the creation of animated content. The studio’s first full length animated feature film, Free Birds, was released in November 2013 grossing over $110 million worldwide. Its second feature, The Book of Life, was released in October 2014 and is still in the midst of its international run. Reel FX also recently started a virtual reality division, Reel FX VR, dedicated to the creation of virtual reality content. The division will focus on client work for major studios and commercial agencies as well as content needs for Reel FX’s original films. .

Copy Link

Recommended publications

Grey Morality of the Colonized Subject in Postwar Japanese Cinema and Contemporary Manga
EITHER 'SHINING WHITE OR BLACKEST BLACK': GREY MORALITY OF THE COLONIZED SUBJECT IN POSTWAR JAPANESE CINEMA AND CONTEMPORARY MANGA Elena M. Aponte A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2017 Committee: Khani Begum, Advisor Kristen Rudisill © 2017 Elena M. Aponte All Rights Reserved iii ABSTRACT Khani Begum, Advisor The cultural and political relationship between Japan and the United States is often praised for its equity, collaboration, and mutual respect. To many, the alliance between Japan and the United States serves as a testament for overcoming a violent and antagonistic past. However, the impact of the United States occupation and the bombing of Hiroshima and Nagasaki is rarely discussed in light of this alliance. The economic revival, while important to Japan’s reentry into the global market, inevitably obscured continuing paternalistic interactions between Japan and the United States. Using postcolonial theory from Homi K. Bhahba, Frantz Fanon, and Hiroshi Yoshioka as a foundation, this study examines the ways Japan was colonized during and after the seven-year occupation by the United States. The following is a close assessment of two texts and their political significance at two specific points in history. Akira Kurosawa's1948 noir film Drunken Angel (Yoidore Tenshi) shaped the identity of postwar Japan; Yasuhiro Nightow’s Trigun manga series navigates cultural amnesia and American exceptionalism during the 1990s after the Bubble Economy fell into recession in 1995. These texts are worthy of simultaneous assessment because of the ways they incorporate American archetypes, iconography, and themes into their work while still adhering to Japanese cultural concerns.
[Show full text]
FLM201 Film Genre: Understanding Types of Film (Study Guide)
Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode...................................................................................................
[Show full text]
Philosophers' Science Fiction / Speculative Fiction
Philosophers’ Science Fiction / Speculative Fiction Recommendations, Organized by Author / Director November 3, 2014 Eric Schwitzgebel In September and October, 2014, I gathered recommendations of “philosophically interesting” science fiction – or “speculative fiction” (SF), more broadly construed – from thirty-four professional philosophers and from two prominent SF authors with graduate training in philosophy. Each contributor recommended ten works of speculative fiction and wrote a brief “pitch” gesturing toward the interest of the work. Below is the list of recommendations, arranged to highlight the authors and film directors or TV shows who were most often recommended by the list contributors. I have divided the list into (A.) novels, short stories, and other printed media, vs (B.) movies, TV shows, and other non- printed media. Within each category, works are listed by author or director/show, in order of how many different contributors recommended that author or director, and then by chronological order of works for authors and directors/shows with multiple listed works. For works recommended more than once, I have included each contributor’s pitch on a separate line. The most recommended authors were: Recommended by 11 contributors: Ursula K. Le Guin Recommended by 8: Philip K. Dick Recommended by 7: Ted Chiang Greg Egan Recommended by 5: Isaac Asimov Robert A. Heinlein China Miéville Charles Stross Recommended by 4: Jorge Luis Borges Ray Bradbury P. D. James Neal Stephenson Recommended by 3: Edwin Abbott Douglas Adams Margaret
[Show full text]
The Greyfriar by Clay & Susan Griffith
THE DOMINION DISPATCH VOL. 1 ISS. 3 PAGE 2 wELCOME BACK! Welcome to Issue 3 of the Dominion Dispatch! It's been a very busy winter so far, with Steampunk Canada making appearances at a number of conventions and events, and planning for the Canadian National Steampunk Exhibition picking up a healthy head of steam. This issue sees a continuation in the trend towards more and more book reviews, which is helped by free review copies from Pyr/Prometheus Books. Pyr, you have our deepest thanks. We are also always looking for reviews of other media, such as music and movies, so please don't hesitate to send them in! Has your group recently had an event of some sort? Send us your photos! Let's show the rest of the world how Canada does “Steampunk” from the west coast to the east. All submissions can be sent to [email protected] cheers, Adam Smith Dominion Dispatch editor-in-chief P.S. Apologies if it appears that this issue of the Dispatch was assembled in a linear fashion... it was. I'm still wrestling with an open source word processor rather than a real desktop publishing program, and it doesn't always behave! So sadly, the double column format was sacrificed for expediency. With luck it will be back next issue. HAND-HEWN NEWS FROM THE NORTH THE DOMINION DISPATCH VOL. 1 ISS. 3 PAGE 3 submission guidelines The Dominion Dispatch is the official newsletter for Steampunk Canada (http://www.steampunkcanada.ca/). We are interested in publishing articles of interest to our Canadian Steampunk audience, and we'll read everything sent to us! However, there are some important considerations to keep in mind: •While we would consider a large multi-page submission or serialization, it would have to be of exceptional quality.
[Show full text]
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.
[Show full text]
Systems and Knowledge Science Fiction Research Association, 2016
Systems and Knowledge #SFRA2016 Science Fiction Research Association, 2016 The University of Liverpool 28th – 30th June Love, 3039 A.D. – “Darling, whenever you’re near me, my sub-atomic dynamo revs faster and faster………….”* *From the cover of The Satellite, vol. 2 iss. 5, May 1939 2 Contents Contents ............................................................................................................................................................................ 2 Conference Schedule ........................................................................................................................................................ 7 Tuesday 28th June, 2016; 10:00 – 11:30 ...................................................................................................................... 10 Keynote: Sawyer, Andy (The University of Liverpool) – #wearealljonsnow or, The Mystery of the Face in the Mirror: Some Problems in Research ........................................................................................................................................ 10 Tuesday 28th June, 2016; 11:45 – 12:45 ...................................................................................................................... 10 Gaslighting (Lecture Theatre 2) Chair: Sarah Lohmann .............................................................................................. 10 Lear, Ashley (Embry-Riddle Aeronautical University) and Jeanette B. Barott (Institute of Electrical and Electronic Engineers (IEEE)) – Applications for Gaslighting
[Show full text]
Western (Genre)
Western (genre) http://en.academic.ru/dic.nsf/enwiki/41275 The Western is a fiction genre seen in film, television, radio, literature, painting and other visual arts. Westerns are devoted to telling stories set primarily in the later half of the 19th century in what became the Western United States (known as the American Old West or Wild West), but also in Western Canada, Mexico ("The Wild Bunch", "Vera Cruz"), Alaska ("The Far Country", "North to Alaska") and even Australia ("Quigley Down Under", "The Proposition"). Some Westerns are set as early as the Battle of the Alamo in 1836 but most are set between the end of the American Civil War and the massacre at Wounded Knee in 1890, though there are several "late Westerns" (e.g., "The Wild Bunch" and "100 Rifles") set as late as the Mexican Revolution in 1913. There are also a number of films about Western- type characters in contemporary settings where they don't fit in, such as "Junior Bonner" set in the 1970s, and "Down in the Valley" and "The Three Burials of Melquiades Estrada" in the 21st Century. Westerns often portray how primitive and obsolete ways of life confronted modern technological or social changes. This may be depicted by showing conflict between natives and settlers or U.S. Cavalry, or by showing ranchers being threatened by the onset of the Industrial Revolution. American Westerns of the 1940s and 1950s emphasise the values of honor and sacrifice. Westerns from the 1960s and 1970s often have more pessimistic view, glorifying a rebellious anti-hero and highlighting the cynicism, brutality and inequality of the American West.
[Show full text]
Pocket Program
LoneStarCon 3 POCKET PROGRAM The 71st Worldcon August 29–September 2, 2013 San Antonio, Texas The Dedication Nin Soong Fong Who gave me heart and soul Elizabeth “Liz” Metcalfe Whose heart never really left Texas Wayne Fong Together we steered Starships: Qapla’ Some of these conversations are for you I miss y’all - Terry Fong “World Science Fiction Society,” “WSFS,” “World Science Fiction Convention,” “Worldcon,” “NASFiC,” “Hugo Award” and the distinctive design of the Hugo Award Rocket are service marks of the World Science Fiction Society, an unincorporated literary society. “LoneStarCon 3” is a service mark of ALAMO, Inc., a 501(c)(3) nonprofit, tax-exempt corporation, registered in Texas. Getting Started Welcome To loneSTarcon 3! There and back again....or deja’ vu all over again. For years, Bill and Randy’s modus operandi at a Worldcon With apologies to J. R. R. Tolkien and Yogi Berra. This journey, was to be up early for breakfast to be sure they made the like many great adventures, began in a bar (or behind one first panel of the day (and yes, starting at 9 or 10 in the anyway). Back in the early 1990s when the bid was underway morning there is always a cool program item...so go take for LoneStarCon 2, we both volunteered to help with the bid. your pick!). A day of constant activity moving back and forth GETTING STARTED In those early days that entailed table sitting (one of fandom’s between art show, dealers’ room, exhibits, and multiple thankless jobs), door greeter at the parties, and quite often panels, then shifting to evening events and finally parties.
[Show full text]
Fantastika Journal
FANTASTIKA JOURNAL Volume 4 • Issue 1 • July 2020 ISSN: 2514-8915 Fantastika Journal • Volume 4 • Issue 1 • July 2020 EDITOR’S NOTE “Fantastika” A term appropriated from a range of Slavonic languages by John Clute. It embraces the genres of Fantasy, Science Fiction, and Horror, but can also include Alternate History, Gothic, Steampunk, Young Adult Dystopic Fiction, or any other radically imaginative narrative space. The goal of Fantastika Journal and its annual conference is to bring together academics and independent researchers who share an interest in this diverse range of fields with the aim of opening up new dialogues, productive controversies and collaborations. We invite articles examining all mediums and disciplines which concern the Fantastika genres. “Most people think time is like a river that flows swift and sure in one direction. But I have seen the face of time, and I can tell you: they are wrong. Time is an ocean in a storm. You may wonder who I am or why I say this. Sit down and I will tell you a tale like none you have ever heard.” (Prince of Persia: The Sands of Time, 2003) Time is traditionally seen as being linear; the progression of one moment to the next, a strict separation of past, present, and future based on sequential and causational relationships. Yet memory, imagination, day-dreaming, nostalgia, planning and many other routine processes blur the boundaries between them as temporal linearity appears to fold back upon itself. Certainly, we cannot avoid the reality that time conceptually propels us along in one direction, but it is simultaneously multidirectional and chaotic.
[Show full text]
READING 3: Steampunk Guide to Subgenres
READING 3: Steampunk Guide to Subgenres Not all of the following terms are actual official subgenres. They are methods, however, to divide up the different fads and avenues (or should I say backalleys) that Steampunk has taken over the years. Boilerpunk The blue-collar answer to aristocratic Steampunk, incorporating the experiences and hardships of the workers actually shoveling coal to brain steam to the upper classes. Cattlepunk A setting which otherwise more or less resembles your typical John Ford film will have things like robots, super-weapons, and wacky gadgets tossed in. Interestingly, the heroes of such stories are usually pretty normal considering the setting- they'll use weapons like pistols and shotguns to take down warmechs. This kind of plot usually takes place either on another planet or in a very obvious Alternate History, since making it work on Earth seriously messes up the space time continuum. This setting is unusual among the Punk Punk subtropes in that it actually predates Steam Punk, which is generally considered the ur- trope. For this we can thank The Wild Wild West, which pioneered the genre by thinking in terms of The Western meets Spy Drama- which, in practice, ends up looking a lot like Steam Punk. Expect ample Schizo Tech in this setting. This a bit of a variation on the IN SPACE! model, though characters here rarely ever actually go into space, at least for extended periods of time. See the inversion, Space Western. A related genre is the Weird West, for when the west gets a supernatural treatment. Not to be confused with Cowpunk, a form of music combining (you guessed it!) Country and Punk, which existed mainly in the 1980s.
[Show full text]
Scions of Nautilus.:Codex.:I
The Agorist Writers Workshop seeks your novella submission for SCIONS OF NAUTILUS.:CODEX.:I Scions of Nautilus is a competition-based annual anthology of liberty-themed science fiction novellas. We encourage submissions from novice as well as professional writers. The best stories are selected for publication. The focus of the series is on the development of human potential and civilization in ways not yet conceived. .:Codex.:I .:Codex.:I is our premiere book in the Scions of Nautilus series. Each Codex (book) now and in the future will be an open-call for science fiction stories with a libertarian/liberty message. We intend to publish one new Codex every year. Scions of Nautilus is Agorist Writers Workshop’s second anthology series. Our first, The Clarion Call, is in its 6th year of publication. The Clarion Call differs from Scions of Nautilus in calling for shorter stories and having a different theme or genre every year. Scions of Nautilus and The Clarion Call will be published on 6-month rotations. The Kind of Stories We Are Looking For We are seeking fictional novella-length stories containing libertarian/liberty concepts that are science fiction focused. Specifically, we are looking for advanced technology world-building with character-driven action and movement in the story. Any libertarian or liberty angle is encouraged. Core tenets may include: personal autonomy and responsibility, freedom from (or the fight against) tyranny, the non-aggression principle (NAP), voluntary association, agorism/anarcho-capitalism (free market exchange), and/or a setting lacking (or properly limiting) government or rulers, or the pursuit of any of the above.
[Show full text]
Place Images of the American West in Western Films
PLACE IMAGES OF THE AMERICAN WEST IN WESTERN FILMS by TRAVIS W. SMITH B.S., Kansas State University, 2003 M.A., Kansas State University, 2005 AN ABSTRACT OF A DISSERTATION submitted in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY Department of Geography College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2016 Abstract Hollywood Westerns have informed popular images of the American West for well over a century. This study of cultural, cinematic, regional, and historical geography examines place imagery in the Western. Echoing Blake’s (1995) examination of the novels of Zane Grey, the research questions analyze one hundred major Westerns to identify (1) the spatial settings (where the plot of the Western transpires), (2) the temporal settings (what date[s] in history the Western takes place), and (3) the filming locations. The results of these three questions illuminate significant place images of the West and the geography of the Western. I selected a filmography of one hundred major Westerns based upon twenty different Western film credentials. My content analysis involved multiple viewings of each Western and cross-referencing film content like narrative titles, American Indian homelands, fort names, and tombstone dates with scholarly and popular publications. The Western spatially favors Apachería, the Borderlands and Mexico, and the High Plains rather than the Pacific Northwest. Also, California serves more as a destination than a spatial setting. Temporally, the heart of the Western beats during the 1870s and 1880s, but it also lives well into the twentieth century. The five major filming location clusters are the Los Angeles / Hollywood area and its studio backlots, Old Tucson Studios and southeastern Arizona, the Alabama Hills in California, Monument Valley in Utah and Arizona, and the Santa Fe region in New Mexico.
[Show full text]