By Ray Pride Pride@moviecitynews.com

‘”When Bad Robot first met with Apple, it was seeking a deal that could potentially have been worth as much as $1 billion over an undisclosed period. Apple ultimately offered Abrams’ Bad Robot a deal in the $500 million range. The holdup? Exclusivity. Apple wanted Abrams to produce projects exclusively for its platforms.Also a concern was Apple’s lack of a theatrical distribution model. Abrams would not have been allowed to work on outside projects for companies like Disney (Star Wars) or Paramount (Star Trek) and television projects would not be sold to third-party outlets.”

‘”When Bad Robot first met with Apple, it was seeking a deal that could potentially have been worth as much as $1 billion over an undisclosed period. Apple ultimately offered Abrams’ Bad Robot a deal in the $500 million range. The holdup? Exclusivity. Apple wanted Abrams to produce projects exclusively for its platforms.Also a concern was Apple’s lack of a theatrical distribution model. Abrams would not have been allowed to work on outside projects for companies like Disney (Star Wars) or Paramount (Star Trek) and television projects would not be sold to third-party outlets.”

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima