End Credits Show Notes for Thursday July 6, 2017

Did you wake up early this morning expecting a new End Credits? Sorry, but we have a new home for the summer, and it’s Thursday mornings at 10 am! To celebrate we’re going to meditate on creativity and talk about how being creative sometimes gets you fired, especially when you’re working on a Star Wars movie, and we’ll also talk about how you’re nothing now without an extended universe. Along with that we’ll consider if its possible to win an Oscar for playing an ape, and to show there’s creativity left in the world, we’ll rave about a new car chase movie.

This Thursday, July 6, at 8 am, Adam A. Donaldson, Tim Phillips and Jenna Gare will discuss:

1) Howard’s End. Usually the drama’s on the big screen, but in this case the drama’s all on set. Phil Lord and Chris Miller were fired as the director’s of the young Han Solo Star Wars movie, and while the exact story isn’t yet known, what’s become clear from multiple sources is that the filmmakers were having way too much fun taking liberties with the script. With so many millions of dollars at stake, the studio has to be sure that the people making those movies don’t go rogue (one), but what effect does that have on the creative, and the artistic processes, especially since every other movie being made now is a franchise film?

2) Hail Caesar. With the release of The War for the Planet of the Apes coming soon, the question’s been asked, doesn’t Andy Serkis deserve an Oscar? Serkis is one of the pioneers of motion capture performance thanks to his work on The Lord of the Kings, King Kong, and the three Apes movies, so he’s definitely worthy of some kind of recognition, but there’s some philosophical questions about what form that would take. Can you recognize the actor alone without the computer effects artists? On the other hand, the costume designer doesn’t share a Best Actor Oscar, do they?

3) Collapsing Universes. Marvel, DC, Transformers, X-Men, Dark, Spider-Man, Hasbro, Fast & Furious… These are some of the cinematic universes that are in some form of development, and it’s not over because now they’re talking about a James Bond universe, which is literally named after the one guy. Why is Hollywood so obsessed with these multi-movie spanning storylines? Is it the money? And are we sacrificing a greater variety of movies and voices by dumping an overwhelming amount of money and energy into creating films that tie into a dozen other films?

REVIEW: Baby Driver (2017). From the man that brought us Shaun of the Dead, Hot Fuzz, The World’s End, and Scott Pilgrim Vs the World, comes the touching story of young love against the backdrop of high-stakes crime in the Atlanta underworld. Edgar Wright’s new movie is a great mix of action, comedy and romance as Baby, played by Ansel Elgort, learns the eternal lesson of the criminal life: just when you think you’re out, they bring you back in. Kevin Spacey, Jamie Foxx, Lily James, and Jon Hamm co-star in this outstanding summer movie that is as much about dancing as it is about cars driving. Call it The Fast and the Glorious

End Credits is on CFRU 93.3 fm and cfru.ca Thursday at 10 am.

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