Trailer Fix: War Horse, Take Two

I haven’t exactly been quiet about my general detestation of the promotional material we’ve seen for War Horse so far. The first trailer is incredibly manipulative and the poster is just boring.

So when I watched the latest trailer today I was expecting more of the same.

Vodpod videos no longer available.

In this trailer, we get a bit more of the battle scenes (those poor horses), the same painfully boring measures of John Williams’ score, less Niels Arestrup, and more glimpses of the trauma the horse will experience. We even get to stare into the horse’s very sad eyes.

Well, I definitely hate this trailer less than the other one. It will unlikely set me off into a state of rage if I see it during the previews before something else. But I still don’t care about War Horse.  So keep trying Dreamworks and I’ll just watch Au Hasard Balthazar in the meantime.

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Poster Fix: War Horse

Oh look, here’s the poster for Steven Spielberg’s War Horse (due out December 28). Everybody drool!

Are you done drooling yet?

Ever since I saw the trailer for War Horse (and everytime I have had to see it since), I have been dreadfully bored by the promotional material for this movie.

I get it. World War I sucked for horses. World War I sucked for Europe. But this boy loves his horse so damn much he’ll do anything to get him back. That’s just great.

Now show me something that doesn’t scream, “Give me an Oscar” and actually makes me excited to see War Horse. Until then I will continue to be dreadfully bored by War Horse.

(For the record, I will be seeing War Horse. I may be snarking now but I’m sure I will be proven wrong come December. I usually am.)

Thursday Trailer Fix: War Horse

The trailer for Steven Spielberg’s War Horse premiered this morning. People are already making sweet love to it, declaring War Horse not only Spielberg’s return to glory but also deciding that this is the film to beat in at the 2012 Oscars.

Let me get this straight. I’m expected to “ooh” and “aah” over this trailer? Please.

War Horse, adapted from the award-winning play, does look like an excellent war epic. It boasts a great story, a stellar cast (Niels Arestrup! Emily Watson!), and a sweeping John Williams score. I’m sure I will be satisfied by the end result. But I’m not going to sit here and be seduced into thinking that trailer shows us anything other than Spielberg and company know how to manipulate viewers. I find this all so cliche and tiring.

It so premature to put this movie in any conversation about the Oscars that it makes my blood curdle.

What are your thoughts on this trailer for War Horse? Are you already on Team Spielberg or are you waving your cynic flag like me? Sound off below.

War Horse will be released in December 2012.

Read This: Interview with Spielberg and Lucas

Bromance

Since we’re going to be subjected to a new Indiana Jones, then George Lucas and Steven Spielberg taking their bromance on the road is a fair consolidation prize. These are some of my favorite parts of this sweet interview with Steven Spielberg and George Lucas (from Entertainment Weekly). They shared a number of insights on the franchise, the new characters and filmmaking. My favorite excerpt is on the changes to the film industry thanks to the Internet (who me?)

EW: You guys first became filmmakers at a time when European directors were arguably the most inventive and the most artistically acclaimed in the world. Do you miss that atmosphere? 

LUCAS: When Star Wars was being made, all the independent art films [still] came from Europe. There were practically no American independent films being made. Now about 30, 40 percent of American films are independent. And the films coming out of Europe, a lot of them look like American films. You can’t really tell the difference. There’s a globalization of entertainment, and it’s good, because you still have personal art films and big audience pleasers.

SPIELBERG: You also have films being made and released on the Internet, little films, five- to six-minute shorts. They come from all over the world, and it’s really interesting to see and to sense how this world has shrunk down to size of a single frame of film…. More people can pick up video cameras, and more individuals can express who they are as artists through this collective medium. That’s what’s so exciting. What makes me really curious to see as many short films, especially, as I possibly can, is that everybody is coming out of a different box, and is free to express themselves because budget is no longer a limiting factor. You can make a movie for no money and basically get it out there on YouTube for everybody to see.

LUCAS: Movies are now becoming like writing, like books. It’s opened up to the point where anybody who has the urge or the talent to do it, there’s not that many impediments to making a film. And, there are not that many impediments to having it be shown. That’s where the Internet comes in. Now you can actually get it in front of people, and have them decide whether they like it or not. Before, that depended on the decisions of a very, very small group of people — executives who in a lot of cases didn’t even go to the movies, and didn’t even like ’em. And they were deciding what the people were and weren’t going to like. It’s much more democratic now. The people decide what they want.

EW: Of course, there are downsides to the burgeoning Internet age — and one of those downsides is, when a popular movie is coming up, people sort of peck it to death before it even opens. There’s been a huge amount written on the Internet about the development of Crystal Skull, including lots of spoilers on chat boards — though most of it is clearly labeled. Is it getting harder to protect the development process? 

SPIELBERG: It really is important to be able to point out that the Internet is still filled with more speculation than facts. The Internet isn’t really about facts. It’s about people’s wishful thinking, based on a scintilla of evidence that allows their imaginations to springboard. And that’s fine.
LUCAS: Y’know, Steven will say, ”Oh, everything’s out on the Internet [in terms of Crystal Skull details] — what this is and what that is.” And to that I say, ”Steven, it doesn’t make any difference!” Look — Jaws was a novel before it was a movie, and anybody could see how it ended. Didn’t matter.
SPIELBERG: But there’s lots and lots of people who don’t want to find out what happens. They want that to happen on the 22nd of May. They want to find out in a dark theater. They don’t wanna find out by reading a blog…. A movie is experiential. A movie happens in a way that has always been cathartic, the personal, human catharsis of an audience in holy communion with an experience up on the screen. That’s why I’m in the middle of this magic, and I always will be.

Read the entire interview here.

The 2008 Cecil B DeMille Award Goes To…

This is how out of it I’ve been. I just realized that the Golden Globes are in two months and I have absolutely no idea what movies are being released in the next two months. But enough about me and more about the 65h Annual Golden Globes.

———————–

The Hollywood Foreign Press Association announced yesterday that Steven Spielberg is the recipient of the 2008 Cecile B. DeMille Award.

Steven Spielberg will be honored at next January’s Golden Globe Awards telecast
with the Cecil B. DeMille Award for his “outstanding contribution to the
entertainment field
.”

Spielberg has received six Golden Globes; for Best Director for Schindler’s List and Saving Private Ryan,” or Best Motion Picture (Drama) for E.T., The Extra-Terrestrial, Schindler’s List, and Saving Private Ryan; and for Best Foreign Language Film For Letters From Iwo Jima. He received 12 additional Golden Globe nominations; eight as Best Director for Jaws, Close Encounters of the Third Kind, Raiders of the Lost Ark, E.T., The Extra-Terrestrial, The Color Purple, Amistad, A.I.: Artificial Intelligence and Munich, three as a producer on Best Motion Picture (Drama) nominees The Color Purple, Empire of the Sun, and Amistad,” and one for his screenplay for Close Encounters of the Third Kind.

Steven Spielberg is a principal partner of DreamWorks Studios, which he
co-founded with Jeffrey Katzenberg and David Geffen in October 1994 and which
was sold to Paramount Pictures in early 2006. Under their leadership, DreamWorks
has enjoyed critical and commercial success, and has been responsible for some
of the most honored films in recent years […]

One of the industry’s most successful and influential filmmakers, Spielberg has directed, produced, or executive produced some of the top-grossing films of all time, including Jurassic Park and E.T. The Extra-Terrestrial. Among his myriad honors, he is a three-time Academy Award® winner, earning two Oscars® for Best Director and Best Picture for Schindler’s List, and a third Oscar® for Best Director for Saving Private Ryan. […]

Since Steven Spielberg is going to receive every lifetime acievement award that exists in the entertainment industry, he might as well start getting them now. It’ll take 10 years for him to receive every single one.

Also announced by the HFPA yesterday, Rumer Willis, the spawn of Demi Moore and Bruce Willis will be this years Miss Golden Globe.

“Rumer, age 19, is the daughter of two-time Golden Globe nominee Demi Moore and Bruce Willis, who received four Golden Globe nominations and a Golden Globe as
Best Actor in a Television Series (Comedy or Musical) for Moonlighting.

We are delighted to have Rumer Willis join us to celebrate ‘The 65 th Annual Golden Globe Awards,'” said [Jorge] Camara at the announcement. “Since both of her parents have enjoyed successful entertainment careers in the acting profession, she is doubly qualified to serve as Miss Golden Globe.”‘

Yay… there is nothing I’m looking foward to more than presence of Rumer Willis at the Golden Globes. Excuse me while I jump with joy.