"Agents of SHIELD's" Edward James Olmos Talks Instigating Mutiny and the Real SHIELD
South Dakota may have Mount Rushmore, but now Sapporo, Japan has Mount Darth Vader. A 50-foot tall Star Wars snow sculpture was created in the city’s Odori Park to celebrate the 66th annual Sapporo Snow Festival.
The massive structure features Vader, a trio of Storm Troopers, TIE Fighters, and the ominous Death Star. According to a Google-translated story from Yahoo! Japan, the sculpture is approximately 50 feet high, 74 feet wide, and 65 feet deep. and took 2,000 people to complete. According to the festival’s website, “Snow Star Wars” was approved by Lucasfilm, making it the first snow sculpture to be formally endorsed by George Lucas’ production company. Check out pictures above and below, via CinemaCafe.
The Sapporo Snow Festival runs through Feb. 11 and attracts nearly 2 million people to the city.
Each week in the podcast Scriptnotes, screenwriters John August and Craig Mazin get together to talk about screenwriting and things that are interesting to screenwriters. For this week’s episode, August, Mazin and sex columnist Dan Savage set their sights on the portrayal of sex – or, rather, the lack thereof – in the industry and Marvel’s sexless superheroes.
When asked what he’d like to see movies and TV do more to portray sex in a positive but realistic way, the following exchange occurred:
Grumblings that Marvel alters its comics to more closely resemble their on-screen depictions date back to at least 2001, when Grant Morrison and Frank Quitely put the X-Men in leather.
With the founding of Marvel Studios and the rise of the tightly knit Marvel Cinematic Universe, however, there are increasing complaints about continuity changes perceived to be in service to corporate synergy, most recently in the parentage of Quicksilver and the Scarlet Witch.
But in a wide-ranging interview with ICv2.com, Marvel Publisher Dan Buckley dismisses any assertion there’s a conscious effort to align continuity — “I think people like to jump to conclusions” — while acknowledging that of course the films are going to have some influence on creators.
“We all remember picking up our X-Men books in the ’70s, ’80s and ’90s,” he said. “The Professor would go in to put Cerebro on and he’d wear a helmet in a room, and whatever room that was and whatever it looked like was up to the artist du jour. But that room now, after the X-Men movie when he rolled into that big open area with the metallic globe that he is sitting inside of with the ramp, and then he puts the helmet on, you go into a Marvel comic now and that’s what that room looks like. The movie defined the mass market perception of what Cerebro looks like. The comics guys are looking at it and thinking, ‘That’s pretty cool, I think I’ll do that!’ So, to say that one medium does not influence the other a great deal would be lying.
If your parents ever complained that all of those Spider-Man and X-Men comics would interfere with your school work, show them this: This spring the University of Baltimore will offer a course examining modern culture through the lens of Marvel’s films, television series and comic books.
Thought to be the first class of its kind in the United States, “Media Genres: Media Marvels” will not only explore the intricate plotlines, characters and backstories that form the Marvel Cinematic Universe but also try to understand our fixation with superheroes and fictional global threats. Students will also study Joseph Campbell’s monomyth of the “hero’s journey.”
The first official renderings have been revealed for Marvel’s Avengers S.T.A.T.I.O.N. at Discovery Times Square, the upcoming interactive exhibition that brings visitors into the Marvel Cinematic Universe..
Presented with Victory Hill Exhibitions and Marvel, in collaboration with NASA and the National Academy of Sciences, the exhibit is designed to bring to life the science behind the superheroes: Visitors are recruited into S.H.I.E.L.D. and granted access to the headquarters of S.T.A.T.I.O.N. — Scientific Training and Tactical Intelligence Operative Network — and its classified files exploring the history and scientific origins of Earth’s Mightiest Heroes.
What did you do last weekend? Nothing much, probably; no real reason to get excited. After all, it was just another awesome Marvel movie opening. Granted, “awesome” isn’t an objective description, and surely some people had a pretty miserable time. But judging from reviews, user ratings and my own anecdotal observations, odds are a significant majority of the approximately 11 million people who watched Captain America: The Winter Soldier enjoyed it.
The film has been thoroughly reviewed — you can read CBR’s take here — so I won’t get into a big assessment. (Suffice it to say, I liked it.) Instead ,what I want to talk about is the larger Marvel Cinematic Universe, and how it hasn’t just successfully adapted stories and characters, but the very experience of the Marvel Comics Universe.
It is now well-documented that Marvel Studios President Kevin Feige is a big comics fan. The difference, however, is that he didn’t grow up with them, but schooled himself on Marvel’s stories while working under producer Lauren Shuler Donner on the first X-Men movie. That distinction might have given him the ability to view the characters and concepts without being hindered by nostalgia, and helped him to dissect how Marvel’s framework could be used for future movies. Hollywood is an even more collaborative business than comics, so it’s unlikely that credit rests solely with Feige. But he certainly was an advocate for leaning more faithfully into the source material.