Hi everybody!
"The dog ate my blog, but this cat is back and that's the fact, Jack!," Bad S. Brad!
For the Wonder Woman movie, I don't want an overly orchestrated SOUND OF MUSIC vibe or a schmoozy synthesized FLASHDANCE punch; I'm looking for a more communal FIDDLER ON THE ROOF foundation to underscore our epic. Consider these new lyrics to IF I WAS A RICH MAN:
She's a WONDER WOMAN
If you think she's not you're very wrong and you are gonna die
On a plate made up of Humble Pie
Realize and don't deny!
Anyway! :)
For this purpose, I will be seeking the lovely assistance of the runway/classical quartet BOND, who have shown great facility with modern percussion. Remember: BOND=Amazons! Tell a friend!
How should our Wonder Woman movie look? (Other than stunning?)
Let's talk about the grande master of set design: Richard Sylbert! From THE MANCHURIAN CANDIDATE (the brilliant Sinatra version, natch'!) to TEQUILA SUNRISE (not a great movie, but a great restaurant in the movie!) (Mad props to Kurt Russell, by the by!), Sylbert turns artifice into function in the blink of an eye. A Richard Sylbert set fits the cast of a movie like a well-tailored suit. Smokin'!
As for cinematography, Caleb Deschanel made his bones on THE BLACK STALLION, but, today, is probably better known as the dad of Zooey (ELF, 100 DAYS OF SUMMER) and Emily (BONES, SPIDER-MAN 2). Caleb knows how to make moveable objects glisten and sparkle on the big screen. Caleb directed a movie called WIND; with Matthew Modine and Jennifer Grey; that was about a series of sailboat races. Despite the legendary expense and difficulty of filming on open water, Caleb makes it all look as easy as rolling off of a log, not like rolling around, say, WATERWORLD.
Making the difficult look easy is the difference between a poseur and a master!
This Labor Day weekend I will be completing the drafts of both WONDER WOMAN movies. Wish me luck, my friends! I'll talk to you, soon! Be good!
Brad
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