Movies
Comic-Con ’11 Quick Bites: ‘Machete 2/3’ (in Space?!) and Guillermo Del Toro’s ‘Frankenstein’
Two small breaking stories, one which will be expanded on when we have a full breakdown of the panel. Robert Rodriguez told San Diego Comic-Con attendees that he’s about to begin filming a sequel to Machete, his feature-length version of the faux trailer intertwined to the 2007 Grindhouse. A third film will be teased within (can you say Machete in space?!). Full story soon, with details on Machete and Heavy Metal.
During his San Diego Comic-Con panel Guillermo del Toro gave updates on several upcoming projects. Starting with his version of Mary Shelly’s “Franksenstein” del Toro promised that there’s one big thing different in his version of Frankenstein than all the others, but left it at that. What a cock tease.
He’s also determined to get the mega-budgeted, R-rated At Mountains of Madness H.P. Lovecraft project off the ground stating that he’s still committed to the project even if the studio isn’t. As for Hellboy 3, budget and the epic nature of the story is what’s holding it up.
From director David Ayer (Suicide Squad, Fury), Heart of the Beast will hit theaters on September 25 from Paramount Pictures, and GQ shares first look images this week.
In the film, a former Army Special Forces soldier and his retired combat dog attempt to return to civilization after suffering a catastrophic accident deep in the Alaskan wilderness.
Brad Pitt stars in the survival thriller Heart of the Beast, with J.K. Simmons (Whiplash) and Anna Lambe (“True Detective: Night Country”) also starring.
Cameron Alexander wrote the screenplay for Heart of the Beast. Academy Award winner Mauro Fiore (Avatar, Spider-Man: No Way Home) serves as director of photography.
“I’ll just be really honest: it made me cry,” Ayer tells GQ of the script. “Reading the script, it’s like a tone poem, in a sense. It’s so sparse—just a guy, a dog, mountains, and the calamities and triumphs that unfold, but what’s fascinating about the script is they’re constantly rescuing each other. It’s not like a guy and his pet—they felt like co-equals in this story. Brad wanted to be No. 2 on the call sheet, and rightly so. There was just something profound in the script. It felt like a study in grief, in healing, and of the human heart. So I had to do it.”
Ayer promises, “Don’t worry, the dog lives.”
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