In what appears to be an uncredited, stolen bit of content, Perez Hilton has quoted David Koechner, who plays Champ Kind in the Anchorman films, on two key points of the upcoming sequel.
Firstly, that Christina Applegate will be returning in the role of Veronica Corningstone.
Secondly, that the film will be set around the launch of 24-hour news channels.
We’d heard about the latter point previously, with Adam McKay pointing out just what changes the 24-hour news cycle brought with it:
We know these guys never deal well with change, and the good thing is that there’s a big blast of change coming… It’s right when all the news started changing with the 24-hours news cycle in ’78 or ’79. All of a sudden, local news stations diversified and had Latino anchors and African-American anchors, and any time you’re talking about diversity and the Action News team, that’s always fun to deal with.
Anchorman 2 will be along in 2013. First, however, they have to make it. Before that, they have to write it.
The Bourne Legacy‘s writer-director Tony Gilroy had some hand in all three previous installments of the series, as well as being the man behind Michael Clayton and Duplicity. From where I’m standing, he’s the big selling point of this new chapter and, while I enjoyed Matt Damon plenty enough and have yet to be really bowled over by Jeremy Renner in any of his pictures, I’m more interested in this new film than I was in Identity, Supremacy or Ultimatum ahead of their releases.
Well, there we go: some of this story takes place during the same time frame as The Bourne Ultimatum, and they’re even re-using some of the same footage. That’s an interesting move, and I’ll be curious to see why Gilroy has made it, and just how.
The Bourne Legacy will open across the US on August 3rd and in the UK during the week of August 17th.
Story details for Pixar’s 2014 picture, The Good Dinosaur, have been kept pretty tightly under wraps – just as you’d expect. Still, while directors Bob Peterson and Peter Sohn are being rather protective of the story’s plot points, they’re proving to be a little more forthcoming with information of what the film will actually be about.
are toying with the idea of what dinosaurs represent today – something anachronistic or resistant to change.
At the same time, Peterson and Sohn wouldn’t confirm that the film was set in a parallel world wherein the dinosaurs didn’t die out but now live alongside humans, though it most definitely is.
Between now and The Good Dinosaur, Pixar have Brave and Monsters University set for release, following afterwards will be Pete Docter’s next picture and Lee Unkrich’s Day of the Dead story. Good times.
Yesterday, people and companies who had applied for panels at San Diego Comic Con 2012 were told if they were successful. And it turns out I have quite the busy Thursday.
At 10.30 am I’ll join the likes of Rick Offenberger, Alan Kistler, Chris Thompson, Bryan Young, Dan Manser, Heidi MacDonald, Holly Golightly, Kiel Phegley, JC Vaughn, Hosh Waldrop and Matt Moore for the How To Get News Coverage panel in Room 8.
I can answer that question now, by the way. Bribe me.
Then I have half an hour to scoot across the convention room layout to get to the Avatar Press panel at noon, at Room 23ABC. Where it is likely the Bleeding Cool Magazine will come up. And you will all be forced to buy it by William Christensen, on pain of being tortured, Crossed-style.
And then I have to kill time in the same room for six hours until 7pm where, alongside Heidi MacDonald, Laura Hudson, Tom Spurgeon, I’ll be on the Bleeding Alliance Of Beat Reporters panel. The title of which does makes me smile. We should get T-Shirts made.
Odds are, I’ll then be grabbed for the Comics On Comics panel. Which is usually around 8pm on a Thursday.
A busy day. But this year, Bleeding Cool will have a mass of reporters on the ground to help me out. Lots more panels, lots more pros, lots more tables, lots more booths, lots more parties, and you should be able to follow them all Bleeding Cool.
That’s keeping it in the family. So how did you get in touch?
I left a message on Dave’s answering machine and got a call back about a month later. A more detailed overview is on my site which collects the “It’s Not Rocket Science” posts on Bleeding Cool News, with some additional stuff.
What are the difficulties facing a job like this, especially where no digital assets exist?
Creativity. How do you take static pages and incorporate all the awesome behind the scenes content and make it easy and fun to navigate… In Cerebus (over all other books) everything on the page is integrated and ripping it apart is not an option. And… the pages are being scanned from the original film or the original boards.
How are you being compensated for this work?
No charge. I was upfront with Dave months ago. I was grateful for his offer of compensation, but I respectfully declined. Yes, right about now someone’s brain just exploded, thinking I am crazy insane… which would make me sane… right?
Right… I think. What do you believe a digital Cerebus will offer those familiar with the work – and those who aren’t?
The excitement of Dave’s Cerebus Universe, and the exciting content being developed right before our eyes! The Cerebus Movie is looking mighty good. And for those who are not familiar with Cerebus… they are in for one heck of a ride! My generation had to wait over 25 years to get the whole story. This generation will be getting it digitally and a lot quicker less to carry.
What lessons do you believe other publishers and creators should learn from what you are doing with Dave?
It doesn’t take much to jump in and go digital. The options are wide open. The need for someone between the creator and reader has been greatly reduced. But, that doesn’t eliminate print or the stores… it just changes the printed product that would be coming out. Books like the Dave Stevens or John Romita Oversized Artist Editions are a prefect example… Books like that, DEMAND to be printed and held… You can’t duplicate that experience digitally.
What additional digital-only Cerebus features will you be able to offer?
All the different content have technical requirements. Audio, Video and Image. Images are already a given, wither it is pages of the comic, letters pages, covers or original artwork. Audio, is a big thing that will be digital-only… The reading of the pages will be enhanced with sound mixing (musical jingles and sound effects). Video is something that is a possibility… All this will be considered and the eventual file size of the digital offering will have an impact on how it is presented. The quality of the images will not be messed with… But the compression of the audio and just how many videos will be included in each offering will be addressed. I certainly don’t want to be putting out a 3 gigabyte file like the Thrill Electric. That’s just huge! Over the course of all the Cerebus Digital books that will be released, a reasonable file size per offering has to be.. reasonable. There is a finite amount of space on the customers drives.
Can you see Dave making digital-only original comics at any point?
Good question! Personally, I have a wishlist… But, I would like to put that question by Dave the next time I talk to him.
The clue comes with the crumbling DC Peel logo. A trailer for a new console/PC game, Injustice: Gods Among Us, featuring the icons of the DC Universe in their DC New 52. So that’s probably the new look for Solomon Grundy, too. Developed by the Mortal Kombat team, time to do some screencapping I think…