'The Lost Symbol' follows 'The Da Vinci Code' and 'Angels & Demons'
It’s not necessarily a good thing to let your trilogy follow in the steps of, oh say something like Bryan Singer’s first X-Men series. Singer helmed two perfectly good films featuring the superhero mutants before handing the reins of the third film over to Brett Ratner, and we all know how that turned out (short answer – not good). Now Ron Howard is joining the club of directors dropping out on final chapters of set trilogies, as he will not be helming the third Dan Brown film, "The Lost Symbol."
Brown’s books have been adapted for the screen by Howard to tremendous success. "The Da Vinci Code" made over $750 million in 2006, followed by "Angels & Demons" in 2009 (which, though not as popular, still made over $486 million worldwide). "The Lost Symbol" will surely be a mainstream hit, simply by virtue of the popularity of both its cinematic lineage and its wild success in book sales (the novel sold 1 million hardcovers and e-books in the U.S., the UK, and Canada on its first day, which earned it the banner distinction of being the fastest-selling adult novel in history).
So why is Howard dropping out of such a cash cow? Deadline reports that Howard told Sony Pictures' Amy Pascal and Michael Lynton that “he just didn't want to do that thing over and over, the same character and the same stories." That seems like a pretty definitive rejection. Of course, Howard is also certainly busy – he’s still looking for a home for his "Dark Tower" project and he recently signed on to helm an adaptation of Jon Krakauer's "Under The Banner Of Heaven," along with a live-action "Spy vs. Spy."
Sony is now looking for a new director for "The Lost Symbol." Tom Hanks will return as Robert Langdon, and Howard will at least remain on as a producer for the film.
Who would you like to see direct "The Lost Symbol"?
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Although it doesn't come out stateside for another month, reviews are starting to trickle in for Zoe Saldana's new thriller "Colombiana." Reviews that should be irrelevant, thanks to the fiery incandescence of its star and the staggeringly awesome power of Megaton's hopefully factual name. Is he French? (Yes.) Is he some kind of shape-shifting alien robot? (No, that's Megatron.) Does he explode with the force of a thousand dying suns? (Possibly.)
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After apparently making the decision to only appear in movies where he can wear stylishly retro headwear, Harrison Ford has signed on to play famed lawman Wyatt Earp in "Black Hats." The film will mark his second consecutive quasi-western after "Cowboys and Aliens," and cements his status as this generation's John Wayne: the grizzled, gravelly voiced, slightly grumpy, yet still somehow lovable paragon of all stoic manliness. Not to mention one of the biggest movie stars in the world.Watch the new trailer for Garry Marshall's 'New Year's Eve'
Ashton Kutcher. Robert De Niro. Zac Efron. Jessica Biel. Alyssa Milano. Lea Michele. Michelle Pfeiffer. Hilary Swank. Halle Berry. Need I say more?
So, tell us what you think in the comments below...
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With his stoic demeanor, strong features and quick-trigger reflexes, Daniel Craig's nameless wanderer in "Cowboys & Aliens" is in many ways the face of the film -- and, surprisingly, its heart and soul, as his character gets not only to save the day but to discover -- and redeem -- the man he was. But in person, Craig laughs easily, and his enthusiasm for his co-stars and crew is fairly evident; in other words, he couldn't be more removed from the dour, dark gunslinger he plays on screen. We spoke with him in Montana. When you read the script and you realize, 'I'm playing the classic Western man with no name,' how much fun is that?
Craig: I was given the script, I read it, and I found my people, and I said, "That's amazing; it's great. I'd love to see this movie. I don't know why I'm in it." I sat down with (screenwriters) Bob Orci and Alex Kurtzman and Jon (Favreau), and we talked about it. They said, "We want you to do it; we want you in it." It was a dream come true.
Was there a blink factor from the title, trying to reconcile the idea of how quick and brief the mental image of the title gives you versus the fullness of the film?
Craig: Those two things were one of the biggest appeals that there was no shying away from the fact this is what it's called. We're not going to change the title. It's not "Lonergan's Progress" or "Dolarhyde's Dilemma": it's "Cowboys and Aliens," and that's what happens. Within that, you hire the best talent you can and a great director, and you tell a story. I hope the audience is going to get whipped up enough by the story and emotionally involved with the characters enough to care for them when the s**t hits the fan.
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