- Gebundene Ausgabe: 256 Seiten
- Verlag: Titan Books Ltd (26. Oktober 2001)
- Sprache: Englisch
- ISBN-10: 1840233257
- ISBN-13: 978-1840233254
- Verpackungsabmessungen: 23,1 x 15,7 x 2,8 cm
- Durchschnittliche Kundenbewertung: 1 Kundenrezension
- Amazon Bestseller-Rang: Nr. 2.903.401 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
- Komplettes Inhaltsverzeichnis ansehen
The Greatest Sci-fi Movies Never Made (Englisch) Gebundene Ausgabe – 26. Oktober 2001
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David Hughes' wonderfully readable The Greatest Sci-fi Movies Never Made is not only a fascinating insight into the machinations of the Hollywood production factory, but a true testament to Sci-fi's enduring popularity as a film genre among mainstream audiences. It's amazing how long many of these movies languished in "development hell" and even more amazing how long the people involved hung on, despite the fact that quite often it was perfectly obvious that the project was on its last legs. Movie buffs and Internet users will be familiar with a lot of the tales here which have now practically passed into Hollywood folklore. Using combinations of new interviews and press clippings, quotes and statements Hughes pieces together the development behind some truly major motion pictures which all fell foul of budget constraints, studio nerves or extensive rewrites. And he unearths some real gems about movies that came tantalisingly close to the big screen, only to fail at the last hurdle. There's James Cameron's take on Spider Man (now being filmed by Sam Raimi) that was caught up in years of wrangling over who owned the rights; the live action version of Thunderbirds which would have seen Lady Penelope taking on the villainous Hood in a fist fight and Steven Spielberg's SF horror Night Skies which eventually transformed into ET with a slightly more cuddly alien as its star. Superhero fans will delight in reading about the cheapo version of the Fantastic Four, shot in just under a month, as well as Batman director Tim Burton' s attempts to get Superman to fly again in the ill-fated Superman Lives. There's also contributions from Alien designer HR Giger and Harry Knowles, who runs the Aint-It-Cool movie news Web site, and several pages of rare illustrations from aborted SF movies. This is by far the most well-written and absorbing account of Hollywood's broken dreams and it's truly heartbreaking to read about some of the fantastic films that were so close to becoming reality. Hughes writes with energy and enthusiasm, resulting in a book that movie buffs and Sci-fi fans cannot afford to miss. --Jonathan Weir
" An essential purchase ... read it and weep." - Empire
"Wonderful... Every sci-fi fan should own this" - Sci-fi-online.com
"An essential chronicle of broken promises" - Hotdog
"These are films I wish I could have seen ... Hughes's research is solid ... it's sobering stuff." 'Moriarty', Ain't It Cool News
"Every so often a book comes along that demands to be read at one or two sittings at the most... miss this one at your peril." - Starlog
"In-depth blow-by-blow analysis ... this has it all ... a must-read" - IGN Filmforce -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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P.S. After reading the section about the unfilmable "Outer Limits" attempt, I wanted to add that two of Harlan Ellison's stories--"Demon with a Glass Hand" and "Mefisto in Onyx"--have also been rumored to be in a bidding war for upcoming Hollywood movie adaptations. I read somewhere that Samuel L. Jackson was on board for the latter film, but I have heard no word further about it (actually, there is also a rumor that Denzel Washington's movie "Fallen" was an unauthorized version of this story, but Ellison didn't bring a suit against anyone, and the source material's basis is not explicit...even so, I can see the comparisons). Perhaps due to Ellison's contentious nature (the man thinks that he is a better writer than he is, but he's still fun to hear from), Hollywood has remained reticent in giving the green light to these potentially great science fiction films based upon two pieces of Harlan's fiction (and "Soldier", as you may already know, was adapted into Cameron's film "The Terminator"). Heck, I bet that a separate book could house the story of what happened to "Demon..." on its trip through development hell. Just think of how many horrific tales there are about great science fiction tales that never made it (scripts by John Varley, Jim and John Thomas, Ellison, Heinlein, Cronenberg, etc.). And if you are interested in furthering your knowledge about B-movie and thriller film productions, pick up any Blu-Ray by Scream Factory. These newly restored releases give you your money's (and your movie's) worth!
However, this book is not essential or even that necessary. While it is hardly Hughes' fault that many of the movies or properties covered in this book have been filmed in the last few years (even if not in the forms he covered in his book), he does have a problem making the material interesting. For every tidbit about the Star Trek cast intriguing against producers or the ridiculous problems besetting Island of Dr. Moreau, there are twenty vague quotes from producers about why they asked for a new draft or a synopsis of minor changes from draft to draft.
And though it is commendable that Hughes tries to avoid playing favorites, he rarely makes any judgements or states his opinion. Most of the time, he is fine with just setting down the quotes and differing opinions of different parties without sifting through them or analyzing them. Many times, the book degenerates into a case of "he said/ she said". Given Hughes' experience with the industry, shouldn't he be able to offer some sort of opinion?
And the closer to the present that Hughes gets, the more he and his sources pull punches, playing coy about the identities of misbehaving screenwriters and producers. I understand that the parties involved want to protect their careers, but then why write this book? At points, the book has all the bite of a movie magazine puff piece. For the comic book properties especially, comic book websites and magazines (including Wizard) have frequently covered the territory in more depth and in more interesting ways.
H.R. Giger's foreword, which discusses the difficulties collaborating with film-makers a continent away and his disappointment with the way his designs are handled, presents a better idea of the compromises and problems of the creative process and the ways it personally effects the parties involved than most of the book. And he does it without any cattiness or bile.
So, if you really want to know more about the specific movies covered in this book, you might enjoy it. But the book is nowhere as definitive or exciting as it pretends to be.