Elizabeth Banks teases Pitch Perfect 3 possibility

19 May 2015 | Author: | No comments yet »

‘Pitch Perfect 2’ Proves Hollywood Should Stop Ignoring Women.

“Pitch Perfect” made a boatload of money last weekend — much more than anyone expected. Pitch Perfect 2 grossed a stunning $70.3 million in its debut weekend at the box office, proving movies with women, for women, and by women can be a hot ticket.Movie-goers get to spend two hours with the characters of Mad Max: Fury Road, but they’ve been on director George Miller’s mind for so long that each has his or her own rich backstory.“Pitch Perfect 2″ brought in more money in its opening weekend than the entire domestic box office sales of the original, according to Sunday estimates by Rentrak.

In one weekend, it became the highest-grossing Mad Max film of all time and it’s four day return became the biggest opening for a film by its director, George Miller, who also directed Babe: Pig In The City and the two Happy Feet films. Hollywood sages predicted the girl-power a capella comedy would run neck-and-neck with the post-apocalyptic action flick “Mad Max: Fury Road.” But it wasn’t even close. The cheesy comedic musical, which follows the trials of an all-female a cappella group, is already close to outdoing its prequel, which grossed $115 million worldwide during its entire cinematic run. A series of Mad Max prequel stories from DC Comics’ Vertigo imprint kicks off Wednesday looking at the earlier days of Fury Road’s prime players, beginning with the villainous overlord Immortan Joe (played by Hugh Keays-Byrne in the movie) and Nux (Nicholas Hoult), one of the Immortan’s loyal War Boys. Anna Kendrick, Rebel Wilson and company blew away the competition with more than $70 million. “Max,” with stars Charlize Theron and Tom Hardy, brought in a mere $44 million.

An issue focusing on Imperator Furiosa (Charlize Theron) and how she met the Immortan’s brides, women chosen to bear a worthy male heir for the ruler, arrives June 17, and two chapters focusing on Max Rockatansky (Tom Hardy) and a hazardous trip to Gastown — and Thunderdome Plus — come out July 8 and August 5. (A special hardcover edition collecting all the stories is in stores Aug. 26.) Nicholas Hoult’s Nux and Charlize Theron’s Furiosa get backstories in three “Mad Max” comic-book prequels. (Photo: Jasin Boland, Warner Bros. Sure, there are plenty of fun numbers that don’t quite qualify as a cappella and tasteless jokes that occasionally fall flat, but the real joy of the film is what it could mean for movies to come. And although the fact that this still needs to be stated — again and again and again — is frankly a mystery, let’s just go ahead and put this past weekend’s box office numbers in the evidence file. Pictures) It’s an important project for the director, who worked on the comics with Mad Max screenwriter Nico Lathouris and storyboard artist Mark Sexton. “They’re a huge influence on modern culture,” Miller says, “and this is the first opportunity of taking something I’ve worked on and having them rendered in comics.

That might seem a bit counter-intuitive, but it actually helped to grow our audience base.” So too did the unparalleled variety of special appearances throughout the film. In the final weekend before summer blockbuster season official starts, a movie directed by, cowritten by, coproduced by and starring ladies, ladies, ladies (Elizabeth Banks, you are a boss among bosses) managed to earn $70.3 million – and to leave even “Mad Max” far behind in the dust (which, yes, is also full of women kicking butt!).

That’s a big deal for me.” The Fury Road movie begins in the middle of a lot of characters’ lives, so to present a cohesive and authentic post-apocalyptic world, Miller worked out various backstories for his actors and their roles. I sat — legs spread wide, alpha-male-style — and focused my dude-eyes on the screen, ready to do mental battle with whatever liberal feminist nonsense appeared. There are men out there who believe America is being feminized and that real men — men who are tough and non-girly and totally secure in their masculinity and not in any way weird or scary — are being pushed to the fringes of society. The key takeaways are that 72 percent of the audience was female and 57 percent was younger than 25, so what Hollywood should conclude is that women make money too, and they’re willing to spend it on a movie that’s worth their time. (“PP2″ got an A- CinemaScore.) Maybe it’s time to stop catering almost exclusively to the supposed gravy-train demographic of young male movie-goers.

These men are sometimes called “meninists” or members of the “men’s rights movement” or all manner of “other things” that appear in “quote marks” because they don’t make any sense. Women’s HeForShe campaign for the Cannes Film Festival, Oscar nominated actress, director and producer Salma Hayek spoke of the industry’s deeply rooted blind side, saying, “They don’t see us as a powerful economic force, which is an incredible ignorance…. Joe Moore, the militant leader of a private army and motorcycle gang when “The Fall” happens, and through oil and water wars, how the man who would be the Immortan built an armada and ultimately finds his place as ruler of the Citadel.

A writer on the website Return of Kings — a popular blog for “heterosexual, masculine men” —wrote a piece explaining why the Mad Max movie, which he refuses to see, is offensive to men. And then there is David Cross, Jake Tapper, Keegan-Michael Key, Jimmy Kimmel, Rosie O’Donnell, Robin Roberts, Shonda Rhimes, the entire judging panel of “The Voice”… you get the point. The only kind of movie where women make more than men is the porno industry.” And Hayek — a beautiful, smart classic leading lady — admitted she’s been passed over for roles because, as Variety reports, “A-list actors have approval over her casting, whereas top actresses in Hollywood don’t get similar deals.” Hayek is just the latest in a growing and vocal group of female power players who are speaking up about the entertainment industry’s insanely backwards relationship to women.

The Immortan’s “the last fascist, feudal moron,” says production designer Colin Gibson. “For me, he was the last white man on Earth, and partly the reason for why we were screwed.” While grand stories and comics are just now coming together in a project for Miller, 70, they’ve been major aspects of the filmmaker’s life since he was a kid growing up in a rural, remote part of Queensland, Australia. “Comics are part of my lifeblood,” Miller says. Earlier this year, the Ask Her More campaign lobbied for reporters to do a little better than straight up ogling during red carpet awards season — and, relatedly, the dumb, infantilizing “manicam” nail parade died a rightful death. She took the film over after the first movie’s director, Jason Moore, left the production, reportedly to work with Amy Poehler and Tina Fey on their upcoming movie “Sisters.” Banks told the AP she had been itching to get into the role of director for years. “I feel that I have more to offer this business and that I was being underused,” she said. “I knew it would probably change my life. Last month, the Make It Fair project debuted with a witty PSA on the creeping crisis of “only 93 percent of popular films directed by males,” while Meryl Streep launched a screenwriters lab for women writers over 40, and the revelatory, make you want to laugh and cry Tumblr S__t People Say to Women Directors & Other Women in Film took off.

As the NYTimes reported, a study found that in 2013, female characters made up just 15% of protagonists and 30% of all speaking characters in the top 100 grossing movies. The public may not buy into her kicking butt in battle the way, say, Scarlett Johansson as Black Widow does, but Hollywood decision makers probably wouldn’t mind injecting some of her singular energy into the same-old, same-old superhero template. It’s so offensive it’s crazy,” while Carey Mulligan told Time Out, “In terms of the amount of interesting roles there are for women it’s obviously massively sexist. That means I was forced to acknowledge that women exist, which took my attention away from the incessant gunfire, the hundreds of male actors and the mid-air impalements. The song is a cultural phenomenon that raised the bar for what we expected from the second movie. (Though it’s worth noting that the song existed long before the first film.

Emma Stone, Natalie Portman and Amy Adams, the Oscar nominees lately stuck doing time as love interests in “The Amazing Spider-Man,” “Thor” and the upcoming “Batman v Superman: Dawn of Justice.” According to Deadline, Banks had the highest opening weekend ever for a first-time director. Reportedly produced on a budget of $29 million with several million more for marketing and distribution costs, the movie will very soon recoup its expenses. A lack of great stories for women.” It’s progress that some companies are starting to realize that women consume their products and are now reconsidering their traditionally sexist ad campaigns.

Mad Max failed that test miserably. (I’m referring to Mad Max the movie, not the character Mad Max, who is tough and awesome because he’s a real man’s man.) Adding to the feminine intrusion, Theron’s character was called Imperator Furiosa, a classic girly name. It’s encouraging that female-led hits like “Frozen,” “Hunger Games” and “Pitch Perfect” are sending a clear signal that appealing to female audiences pays off, hugely. As I had been warned by my meninist pals, Furiosa was Mad Max’s equal in killing, thinking about killing and staring off into the distance while not speaking. Instead, Hollywood producers, who have been under fire recently for giving jobs only to men, will probably try to sign her up for a blockbuster about a super-heroine (because women are apparently unable to direct movies about male superheroes).

And it sure would be nice if Hollywood began listening to the women who are going public with their stories of the deeply entrenched biases that have kept the industry in such a dumb desert of innovative ideas. Just look at Justin Bieber and Taylor Swift, whose G-rated beginnings have sustained their young fans through genre transitions and growing pains to make them two of the highest-earning musicians in the world. Promising directors who make interesting and unique movies are rewarded by getting signed to a big franchise deal, which takes them away from ground-breaking original work.

That men’s rights activists — the saddest demographic of all — are offended that “feminism has infiltrated and co-opted Hollywood” is pathetic. And the notion that women will gladly spend money to see anything but men will run away in droves from a story involving women — because “women” has to mean “Ugggggh is this a chick flick?” — is at this point an embarrassment. And now Phil Lord and Christopher Miller, the guys behind “21 Jump Street” and “The Lego Movie,” will direct “The Flash”; Rian Johnson, of the mind-bending “Looper,” is on for “Star Wars: Episode VIII”; and Patty Jenkins, who directed “Monster,” is currently on board to helm “Wonder Woman.” If a movie works well, why not make more movies just like it? Some took matters into their own hands: Disappointed with the roles she was being offered, Reese Witherspoon, with producer Bruna Papandrea, started Pacific Standard, a production company focused on adapting books with strong female leads. Then, without even politely asking permission, Furiosa — who I’ll remind you is female — takes the gun from Max and shoots the vehicle, causing it to burst into flames.

On top of a small upfront fee, she earned just 7% of the film’s profit, while co-stars Bradley Cooper, Christian Bale and Jeremy Renner banked 9%, Wikileaks revealed. And if audiences liked watching Beca (Kendrick) and Jesse (Skylar Astin) fall in love against the backdrop of the cutthroat world of a capella competitions, maybe they’d also like to watch Beca and Jesse move to Los Angeles together, where they both pursue music careers, but are torn apart by jealousy (because Beca obviously makes it, while Jesse founders), only to be brought back together during a rainstorm. This year, not a single actor of color received an Oscar nomination, while a 2015 report found that just 17.5% of the 114 major studio releases last year contained characters that identified as either lesbian, gay or bisexual.

And then, a few years down the road, when audiences get sick of watching the same people doing the same things, producers can just reboot the franchise or remake the first movie with fresh new faces.

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