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<ul class="summary-list"><li>Researchers at a <keyword id="6385073" type="LOCATION" weightage="60" keywordseo="georgia">Georgia</keyword> University have authenticated a "<keyword id="5871745" type="POSITION" weightage="60" keywordseo="shrunken-head">shrunken head</keyword>" that has been on display for decades.</li><li>The tsantsa, as it's known in Amazonian languages, was also featured in the 1979 film "<keyword id="11241651" type="UNKNOWN" weightage="60" keywordseo="wise-blood">Wise Blood</keyword>." </li><li>Researchers spent years trying to authenticate the artifact so it can be sent back to <keyword id="55893" type="COUNTRY" weightage="60" keywordseo="ecuador">Ecuador</keyword>.</li></ul><p>A shrunken head artifact that has been on display for decades at a Georgia university and was featured as a prop in the 1979 <keyword id="260693" type="PERSON" weightage="60" keywordseo="John-Huston">John Huston</keyword> film "Wise Blood," has been authenticated as a real human head and will be returned to Ecuador, the country from where it originates. </p><p>Mercer University in Macon acquired the head, known as a "tsantsa" in Amazonian languages, after a former faculty member came into possession of the artifact while serving in the US military, according to a <a href="https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-021-00518-z">new research paper</a> on the ceremonial antique published this week.</p><p>Researchers at the university have spent years performing tests to authenticate the tsantsa to determine if the object can be returned to Ecuador's government, including reconstructing a three-dimensional model and performing CT scans on the artifact, <a href="https://www.nbcnews.com/science/science-news/display-ceremonial-head-returning-amazon-rcna884">according to NBC News.</a> </p><p>"It's a relief to have the specimen out of our possession," Craig D. Byron, one of the paper's authors, <a href="https://www.theartnewspaper.com/news/how-a-ceremonial-shrunken-head-held-by-a-us-university-for-decades-was-finally-returned-to-ecuador">told The Art Newspaper.</a> "It had 'underground' value; it was illegal to trade or sell; it was the skin from a person's head."</p><p>The university's tests proved the tsantsa was genuine, meaning its creators removed the skull and flesh on the head and stitched the eyes and mouth shut before boiling it and filling it with hot stones, NBC reported.</p><p>Shrunken heads became popular keepsakes in some parts of the world during the 19th century, leading researchers to worry that the tsantsa at Mercer may have been one of the many fakes made to meet demand long ago.</p><p>But according to the research paper, the scientist's tests found the head in question met 30 of the 33 authentication factors, including the hairstyle unique to the Ecuadorian Amazon region from where it came. </p><p>Tsantsas were cultural artifacts made using human remains of male members of the Amazonian peoples native to Ecuador and Peru until the mid-20th century, according to the research paper. </p><p>In addition to being a display item, the tsantsa was also featured in "Wise Blood," the film version of a novel by author Flannery O'Connor, who resided near Macon. For the John Huston film, the head was glued to a tiny body prop and worshipped by one of the film's characters. Researchers said they were able to recognize damage to the artifact caused by the glue. </p><p>Mercer University repatriated the shrunken head in 2019 to the Ecuadorian Consulate in Atlanta, NBC reported, though it was unclear if it had been returned to the country yet.</p><p>"We wanted it to be viewed by people who could appreciate it in an appropriate context," Adam Kiefer, a co-author of a <keyword id="6355244" type="UNKNOWN" weightage="60" keywordseo="study">study</keyword> told the outlet. </p>

Study finds shrunken head prop used in 1970s John Huston film is actually a real human head

<ul class="summary-list"><li>Actor Sergio Calderón died on Wednesday morning at age 77, his rep confirmed to multiple outlets.</li><li>The rep told People that Calderón was previously hospitalized for pneumonia.</li></ul><p>Mexican-born veteran actor Sergio Calderón died on Wednesday morning at the age of 77, surrounded by family. </p><p>On Wednesday, a spokesperson for the star confirmed to <a href="https://deadline.com/2023/05/sergio-calderon-actor-dead-pirates-of-the-caribbean-men-in-black-1235386319/">Deadline</a> that Calderón died. The following day, a rep told <a href="https://people.com/sergio-calderon-dead-pirates-of-the-caribbean-men-in-black-actor-7506888" target="_blank" rel="noopener">People</a> and <a href="https://ew.com/celebrity/sergio-calderon-dead-pirates-of-the-caribbean-men-in-black-was-77/" target="_blank" rel="noopener">Entertainment Weekly</a> that he "was in the hospital previously with a bout of pneumonia, not sure that was the cause."</p><p>Calderón was born in Coatlan del Rio, Morelos on July 21, 1945, and studied at the Instituto Andrés Soler of the Asociación Nacional de Actores in his home country.</p><p>Afterward, beginning in the '70s, he started acting professionally, landing roles in films and TV shows. His decades-long career included parts in John Huston's "Under the Volcano," the TV show "The A-Team," and the comedy "The In-Laws."</p><p>But perhaps most notably, he appeared in two major franchises: "Men in Black" and "Pirates of the Caribbean."</p><p>In the first "MIB" installment, released in 1997, the actor played Jose, better known as the "head on a stick" character in the sci-fi movie. </p><p>Calderón reflected on his involvement in "MIB" in a post shared on his Instagram in July 2022, commemorating the film's anniversary. </p><p>A decade later, Calderón portrayed Captain Vallenueva, a pirate lord, in "Pirates of the Caribbean: At World's End," the third film in the franchise. </p><p>Most recently, the actor guest-starred on season five of the show "Better Things," appeared in the film "The Seven Faces of Jane," and played a detective on the Peacock series "The Resort."</p><p>According to <a href="https://www.hollywoodreporter.com/movies/movie-news/sergio-calderon-dead-men-in-black-1235504835/">The Hollywood Reporter</a>, Calderón is survived by wife Karen Dakin, son Patrick Calderón-Dakin, daughter Johanna Calderón-Dakin, son-in-law Raaj, and three grandchildren named Krishnaavi, Emiliano, and Victoria.</p>

'Pirates of the Caribbean' and 'Men in Black' actor Sergio Calderón dead at 77

Just on the outskirts of the old city limits of the megapolis of Kolkata stands the semi-urban hamlet of Boral, where a young art director with the advertisement agency D J Keymer shot his classic debut film '<keyword id="106892" type="General" weightage="80" keywordseo="pather-panchali" source="Orion">Pather Panchali</keyword>' (Song of the Road), some 70 years ago, to metamorphose into the celebrated movie maestro Satyajit <keyword id="6561" type="General" weightage="100" keywordseo="ray" source="Orion">Ray</keyword>. Ray or Manick-da as his close associates called him, whose 102nd birthday is being celebrated Tuesday with aplomb across the globe, chose the village as it "was only four miles from the city limits and this meant that we could make daily trips" as also because with his shoe-string budget to shoot the movie, he could hardly afford on-location shoots in faraway rural idles. <br /><br /> "He used to come to this field between our house and the ancient twin Shiva temple and stand for hours under a tree staring and chewing a handkerchief. <br /><br /> "My father asked him what was he really doing. Ray told him that this was his way of composing shots in his head," said <keyword id="5748880" type="General" weightage="50" keywordseo="tushar-kanti-ghosh" source="Orion">Tushar Kanti Ghosh</keyword>, 80, a scion of the <keyword id="701424" type="General" weightage="50" keywordseo="zamindar" source="Orion">Zamindar</keyword> family which used to own most of the land in this village turned part of the city at one time, adding with a wrinkled grin: "He told dad he wasted around a dozen handkerchiefs a day thinking about shots!" <br /><br /> Ghosh met Ray at age eight, and played a small part as a student at the village school in 'Pather Panchali', shot over from 1952 to 1955. <br /><br /> "He (Ray) asked my father if he could borrow some young boys for the movie ... I had two small parts in the film and naturally at that age I was thrilled," chuckled the octogenarian, who along with other fellow villagers never realised that their non-descript village would be thrust into international fame once the movie was released and showcased at Cannes as India's official entry. <br /><br /> Opposite the pond where Ray had shot some of his scenes for 'Pather Panchali' lives Abhishek Paul, 31, a young artist who said he heard stories of the film's shooting from his grandmother. <br /><br /> "The entire village was agog with excitement through the period the movie was shot ... today we feel a kind of pride that he chose our 'para' (locality)," said Paul. <br /><br /> A small bust of Satyajit Ray stands at the turn of the road from the house he had rented for the shooting. Locals have garlanded it and put-up festoons to celebrate the renowned filmmaker's birth anniversary Tuesday. <br /><br /> Satyajit Ray cast mostly amateur actors in his movie for which he raised money by pawning his wife's jewellery and taking a subsidy sanctioned by the then chief minister of West Bengal Late Dr Bidhan Chandra Roy, a fellow Brahmo Samaji. New York's Museum of Modern Art too chipped in with some support after noted American film director John Huston saw some of Ray's unfinished raw reels and declared it as the work of a "great filmmaker". <br /><br /> "His first movie marked him out as being born into a different league ... 'Pather Panchali' was a far more realistic and yet stunningly beautiful presentation of rural India's life than we had ever seen before ... it touched the heart, not just the other senses," said <keyword id="466542" type="General" weightage="50" keywordseo="shoma-a-chatterji" source="Orion">Shoma A Chatterji</keyword>, veteran film critic and author of books on Satyajit Ray. <br /><br /> No script was ever written for the movie as Ray believed the novel written by noted Bengali writer Bibhuti Bhushan Bandyopadhyay was far too lucidly written to require a script. <br /><br /> Instead, "Satyajit Ray drew a storyboard for the entire movie - picturising every scene that he shot with the dialogues scribbled on the margins in a strong, neat hand ... this was typically Ray, a very meticulous director who planned every single shot long before executing it," explained Chatterji. <br /><br /> The music for the movie was composed by the famous sitarist Ravi Shankar and was considered an epochal score by the film fraternity, but Chatterji said the two geniuses had their intellectual differences and "in later films, Ray started composing his own music". <br /><br /> After initial hesitation, the movie which depicts a family's struggle to live in their rural ancestral village as the hero - a child named Apu - grows up, did surprisingly well with both the critics and in the box office. <br /><br /> Times of India in a piece in 1956 said: "It is banal to compare it with any other Indian picture...Pather Panchali is pure cinema. There is no trace of theatre in it." <br /><br /> In Cannes, his debut film was nominated for the Palme d'Or for the best film and won the Prix du document humain (best human document). <br /><br /> Part of Ray's 'Apu Trilogy, Boral's debut on the big screen remains one of the most influential movies that the world has seen. Twenty years after it was released, another film maestro Akira Kurosawa said the movie continues "to stir up deep passions." <br /><br /> However, the village itself no longer stirs any great artistic passions. The forest patches and farmland have been gobbled up by an ever-hungry city as the megapolis's realtors built middle-class 'dream' high-rises. <br /><br /> The fields of 'Kash' flowers or kans grass which at one time ran parallel to the single line railway track where 'Pather Panchali's' main characters - Apu and Durga - ran around, have been replaced by more railway tracks and ugly warehouses while the plaintive whistle of the steam engine has given way to brash honking by diesel locomotives. <br /><br /> "But some things still remain the same ... everyone still loves a good story and someday another Ray will discover another Boral to produce yet another compelling movie," said Ghosh.<br /><br /><strong>SEE ALSO:<br /><a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/tech/news/7-out-of-10-indians-are-unable-to-identify-ai-voice-call-scams-and-half-fall-for-scams-with-monetary-losses/articleshow/99924644.cms">7 out of 10 Indians are unable to identify AI voice call scams, and half fall for scams with monetary losses</a><br /><a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/tech/news/several-twitter-users-logged-out-from-desktop-accounts-globally/articleshow/99925101.cms">Several Twitter users logged out from desktop accounts globally</a></strong><br />

The urban hamlet where Satyajit Ray met 'Pather Panchali'

<p><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>Netflix</span></p><p class="caption">(L-R) John Huston, Orson Welles, and Peter Bogdanovich on the set of "The Other Side of the Wind."</p></div><p></p></div></div></p><ul><li><strong>On Wednesday, Netflix's Ted Sarandos announced that no Netflix movies would be shown at the Cannes Film Festival.</strong></li><li><strong>One of those movies is the infamous final movie by Orson Welles, "The Other Side of the Wind."</strong></li><li><strong>Welles' daughter, Beatrice, pleaded to Sarandos via an email to reconsider his decision, according to Vanity Fair.</strong></li></ul><p><br />For fans of famed filmmaker and actor Orson Welles, the news on Wednesday that Netflix would be <a href="http://www.businessinsider.com/netflix-will-not-screen-any-movies-at-the-cannes-film-festival-2018-4">pulling the movies</a> it planned to show at this year's Cannes Film Festival - including the world premiere of Welles' infamous final movie - followed the narrative of the legend's complicated career.</p><p>His unfinished final movie, "The Other Side of the Wind," which many have tried to complete since his death in 1985, looked to finally be at the finish line when Netflix announced last year that it was taking the global rights and would finance the completion of the movie. This seemingly put a coda on one of the most <a href="http://www.businessinsider.com/orson-welles-new-book-2015-5">insane tales</a> of any movie ever made.</p><p>But like many projects Welles tried to complete in his career - which were delayed or watered-down due to lack of money or outside interference - showing "The Other Side of the Wind" at the most famous film festival in the world has been halted. And Welles' daughter, Beatrice, is pleading that the streaming giant reconsider.</p><p>"I was very upset and troubled to read in the trade papers about the conflict with the Cannes Film Festival," Beatrice wrote in an email sent to Netflix head of content Ted Sarandos on Sunday, according to <a href="https://www.vanityfair.com/hollywood/2018/04/beatrice-welles-netflix-cannes" target="_blank" rel="noopener">Vanity Fair</a>. "I have to speak out for my father."</p><p>"I saw how the big production companies destroyed his life, his work, and in so doing a little bit of the man I loved so much," Beatrice continued. "I would so hate to see Netflix be yet another one of these companies."</p><p><div class="KonaFilter image-container display-table float_right"><div><div class="image on-image"><p class="source"><span>St. Martin's Press</span></p><p class="caption">Orson Welles on the set of "The Other Side of the Wind."</p></div><p></p></div></div>She also wrote how much the festival supported her father: "Please reconsider and let my father's work be the movie that bridges the gap between Netflix and Cannes," she wrote.</p><p>However, in an interview with <a href="http://variety.com/2018/film/news/netflix-cannes-rule-change-ted-sarandos-interview-exclusive-1202750473/" target="_blank" rel="noopener">Variety</a> on Wednesday, Sarandos confirmed that Netflix titles would not be at Cannes.</p><p><span>"We want our films to be on fair ground with every other filmmaker," Sarandos told the trade. "There's a risk in us going in this way and having our films and filmmakers treated disrespectfully at the festival. They've set the tone. I don't think it would be good for us to be there."</span></p><p><span>After last year's Cannes, in which Netflix had two titles in competition - Bong Joon-ho's "Okja" and Noah Baumbach's "The Meyerowitz Stories" - the festival announced that films with no plans to be released theatrically in France would no longer be considered for placement in the competition section of the festival.</span></p><p><span>On Wednesday, "The Other Side of the Wind" producer Filip Jan Rymsza reacted to the news on the movie's <a href="https://www.indiegogo.com/projects/finish-orson-welles-last-film#/updates/all" target="_blank" rel="noopener">IndieGoGo</a> page:</span></p><p>"The Other Side of the Wind" stars John Huston as a director who returns to Hollywood with hopes of a comeback after years of living in Europe.</p><p>Netflix has not officially announced when it will make the movie available to stream. It will also stream a documentary on the making of the movie.</p><p>Business Insider contacted Netflix for comment but did not get an immediate response.</p>    <div class="margin-top">        <h3>NOW WATCH: <a href="http://www.businessinsider.com/art-trucks-dekotora-japanese-car-culture-led-flashing-lights-2018-3">These trucks are works of art</a></h3>        <div>                    </div>    </div>

Orson Welles' daughter pleads with Netflix to reconsider its Cannes ban and let her father's final movie premiere there

<p>Today, "<keyword id="12151275" type="UNKNOWN" weightage="60" keywordseo="men-in-black" source="Orion">Men in Black</keyword>" is considered a landmark action-comedy that cemented Will Smith as a global-box-office draw and showcased how computer graphics would elevate Hollywood blockbusters for decades to come.</p><p>But 25 years ago, the movie was hardly a sure thing. </p><p>Based on a little-known comic-book series from Marvel, Sony had no idea what it had its hands on when it began developing the project about a pair of agents (Tommy Lee Jones and Smith) from a secret organization that watches over aliens living on Earth. There were also a few hiccups at the start: the two leads were neither of the producers' first picks, and director Barry Sonnenfeld had left the project twice before shooting began.</p><p>But by the time the movie was in the can, things were looking promising. Steven Spielberg came on as an executive producer and Smith had become a huge star thanks to "Independence Day," which became a gigantic hit right around the time "Men in Black" wrapped production.</p><p>The movie ended up becoming a box-office sensation, and even still gets regular play on cable networks like TNT. From Jones and Smith's funny banter to the alien characters created by creature-effects legend Rick Baker (who won the best makeup Oscar for his efforts), the movie, which spawned two sequels also directed by Sonnenfeld, remains an extremely enjoyable watch all these years later.</p><p>For the movie's 25th anniversary, Insider spoke to Sonnenfeld over the phone from his home in British Columbia.</p><p><strong>The director recalled never-before-told insights like the famous line that Smith came up with on the spot, what he had to do to get a Michael Jackson cameo in the sequel, and why he thinks the franchise reboot attempt with 2019's "Men in Black: International" starring Tessa Thompson and Chris Hemsworth didn't work.</strong></p><div type="image" title="Will Smith in a black suit and black sun glasses" height="4197" width="2782" msid="92600526" hostid="261"></div><h2>Sonnenfeld purposely undersold Chris O'Donnell on the movie so he could cast Will Smith instead</h2><p><strong>Previous to making 1995's "Get Shorty," you were developing "Men in Black" but couldn't see eye-to-eye with producers Walter F. Parkes and Laurie MacDonald. So you left the film. What led to you finally signing back on to direct?</strong></p><p>I was developing "Men in Black" for a very long time and finally, after six years of trying, I was able to get "Get Shorty" made so I left "Men in Black" to do "Get Shorty." But I had heard they hadn't gotten a director they were sticking with.</p><p>I was in L.A. having breakfast with my wife at The Ivy and at the next table was Barry Josephson, who was head of production at Sony at that time. I said, "Listen, if you're willing to wait until I'm done with 'Get Shorty' I would love to come back on 'Men in Black.'"</p><p>So it was kind of kismet that I ran into Josephson. Otherwise, it's possible I never would have gotten involved again. </p><p><strong>Legend has it that the producers wanted Clint Eastwood and Chris O'Donnell to play the leads. When you returned to "Men in Black," was that still the case?</strong></p><p>When we started up again, those were the two names in the mix. I had suggested Tommy Lee Jones and Will Smith. Will was actually my wife's idea. They went out to Tommy Lee Jones and he said he would consider it if there was a rewrite of the script.</p><p>Then during that rewrite, Tommy got director approval so because of that I was off the movie again. This was for about four or five months. The irony is that Tommy was my idea to be in the movie in the first place. </p><p><strong>So how did you get back on the film?</strong></p><p>I had a meal with Tommy in Santa Monica about five months later after he said the latest rewrite was good enough for him to sign on. I had dinner with him and it worked out. </p><div type="image" title="Chris O'Donnell in a tuxedo" height="3000" width="1954" msid="92600528" hostid="261"></div>Then it was Walter, Laurie, and Spielberg who felt Chris O'Donnell would be good. I think he's a good actor, but I had really been thinking about Will since my wife made the suggestion.<p>I met with Chris and he had concerns about the script and had another movie offer. So I told him, "Yeah, we might never fix this script and I don't think I know how to direct this movie." So he passed on the movie the next day. </p><p>I used to live in the Hamptons and Steven Spielberg used to summer there so I was able to arrange for Will to come up from Philly — he was at a wedding — to come and meet Steven and myself and Walter and Laurie. And that's how Will got the part. </p><p><strong>Is it true David Schwimmer was in the running for the J role at one time?</strong></p><p>Um, yes, that rings a bell. But I always thought about Will for the role. </p><p><strong>So let's be clear, you kind of undersold it big time to Chris O'Donnell. </strong></p><p>Well, you know what, you always want to underpromise and overdeliver.</p><div type="image" title="Will Smith holding a baby alien" height="1515" width="2310" msid="92600530" hostid="261"></div><h2>An early showing of the movie to friends and family was a disaster</h2><p><strong>You started principal photography around March 1996. By that July, Will Smith is a global star due to "Independence Day." Did the success of that movie change at all how Will's J character evolved during shooting or just how you would use Will in the marketing of the movie?</strong></p><p>No, it didn't. I think "Independence Day" came out in the last two weeks of our principal photography and Will was already a bigger-than-life presence in the room so it was great that we didn't have to film through months of box-office records, it was just the opening weekend. </p><p><strong>Going into post-production, did you feel you were playing with house money because now you had hitmaker Will Smith?</strong></p><p>No, because you never know that. If you start thinking that way, it's bad news.</p><p>In fact, we had a family and friends screening near the end of the editing where we didn't have the visual effects in and it was a disaster. People who were at the screening — my agent, my lawyer, Ethan Coen — after the movie was released and was a hit they all said, "We lied to you when we said it's going to be good after the friends-and-family showing. We didn't think it would be."</p><p><strong>And what about Will Smith doing <a href="https://www.youtube.com/watch?v=fiBLgEx6svA">the "Men in Black" song</a>? Did the idea come before "Independent Day" was released?</strong></p><p>That was in post-production when we asked Will to do the song. But truthfully, we would have done that regardless of how "Independent Day" did just because of his hip-hop career.</p><p>And we did a big-budget music video for the song — that was really less about "Independence Day" and more because Sony had seen the movie and felt it was going to be a big hit. But it sure didn't hurt that "Independence Day" was such a big movie. </p><div type="image" title="Tommy Lee Jones in a black suit" height="4192" width="2774" msid="92600532" hostid="261"></div><h2>It took a long time for Tommy Lee Jones to accept being the straight man to Will Smith</h2><p><strong>Was there a moment on set when you could tell Tommy and Will were clicking?</strong></p><p>It's funny, they really clicked both on- and off-camera. They really enjoyed each other. They both thought each other was funny. For me, personally, the very first time we shot with both of them together is that <a href="https://www.youtube.com/watch?v=1FkVXCCfg2A">pawn-shop scene with Jack Jeebs</a> (played by Tony Shalhoub) and they both were perfect.</p><p>Will ad-libbed that last line of, "Yeah, I'm gonna come back about those Rolexes." Right away I knew they would work out well. </p><p><strong>Through doing the rewrites and going into shooting, was Tommy on board with being <a href="https://tvtropes.org/pmwiki/pmwiki.php/Main/StraightMan">the straight man</a> in essentially this comedy duo with Will?</strong></p><p>It took a long time for him to feel comfortable with it. I don't think he ever did. I don't think he understood that comedy. In fact, I really sat on his performance. I never wanted him to acknowledge anything Will said was funny or was a joke.</p><p>I got a call from Tommy's agent about two weeks into the movie and he said, "I don't want Tommy to be funny, I only want Will to be funny." And I promised him that when Tommy sees this movie, Tommy will realize he's as funny as Will Smith is. Every comedy team needs a straight man.</p><div type="image" title="Vincent D'Onofrio dressed in overalls as &quot;Men in Black&quot; villain Bug" height="688" width="1264" msid="92600534" hostid="261"></div><strong>But I would imagine the biggest wild card, in regards to characters, was the Edgar/Bug character that Vincent D'Onofrio plays. He could have gone so many different ways with that role. Is it true you didn't hear what voice he was going to do until the first day of shooting him?</strong><p>Yes. And I was 100% on board. </p><p>The other thing he did that was fantastic is his voice changes over the course of his time on Earth because he becomes more and more bug-like. In fact, near the end of the movie when he comes into the morgue to find the cat and where he kills the character played by David Cross, he's almost impersonating John Huston from "Chinatown."</p><p>He was great to work with and understood you can be funny without trying to be funny. I love that he's so annoyed because he's in this human suit, which was brilliantly conceived by Rick Baker. </p><p><strong>Is it true Linda Fiorentino got the role of Dr. Laurel Weaver because she played against you in a poker game?</strong></p><p>That's her legend. She claimed that she won the part in the poker game, but that's not true. Someone invited me to a poker game and Linda happened to be at my table. So when it came time to cast for that role, she was someone I immediately thought about because I had just played poker with her. </p><div type="image" title="Michael Jackson in &quot;Men in Black&quot; suit with penguins behind him" height="562" width="1000" msid="92600535" hostid="261"></div><h2>Michael Jackson refused to play an alien in "Men in Black II"</h2><p><strong>A great moment in the movie is <a href="https://www.youtube.com/watch?v=XbxA9p_nCGc">the observation board scene</a> that shows all the aliens living among us on Earth: Al Roker, Sylvester Stallone, Steven Spielberg, George Lucas, Danny DeVito. <br /></strong></p><p>Yeah. I wanted to have people up there that made you go, "Yeah, he could be an alien."</p><p><strong>Now in "Men in Black II" you show off the board in a different way, it's where you have <a href="https://www.youtube.com/watch?v=l_F4BkPGSRA">the Michael Jackson cameo</a>. How did you get him to do that?</strong></p><p>He approached us.</p><p><strong>Really? Did he just want to be in the movie?</strong></p><p>Well, I was going to make him an alien and he said, "No, I want to wear the 'Men in Black' suit." So we figured out how to do that and it worked out. He was lovely. </p><div type="image" title="Tommy Lee Jones and Will Smith standing across from Linda Fiorentino" height="1497" width="2297" msid="92600537" hostid="261"></div><h2>Initially, Sonnenfeld didn't like Danny Elfman's score and he had to go to the composer's 'scary' house to tell him</h2><p><strong>The secret sauce to the whole franchise, but particularly this movie, is Danny Elfman's score. You know the movie is going to be a fun time just from the music. How did he come up with the score?</strong></p><p>I went to Marc Shaiman first because he had done my movies "The Addams Family" and "Addams Family Values," but he wasn't available. I went to Danny and he agreed to do it. I really admired Danny's work.</p><p>Early on, we gave Danny some scenes to write music for, just so I could see if we were on the same page. And he had a place in Malibu that was so dark and so scary. I go into this bunker that he had on this Malibu property, it's pitch black outside, he's got skeletons, taxidermy. I'm pretty freaked out. And the initial stuff Danny played for me was totally wrong.</p><p>I started to sweat because I was about to tell Danny Elfman, who I truly admire from the Tim Burton stuff, that he needed to go in a totally different direction tonally. I didn't know how he was going to take that. </p><p>I basically told him that he was hitting the jokes and helping me with the comedy but I didn't want any help with the comedy. I wanted the audience to decide what was funny and what wasn't on their own. I didn't want an actor to wink at the camera or the music to do that. I told him where I needed help, was the music needed gravitas and emotion. And he totally got it.</p><p>About a week later, I drove back to that horrible place of his again and what he played for me was fantastic. </p><div type="image" title="Tommy Lee Jones in black suit talking to aliens at coffee counter" height="1542" width="2348" msid="92600540" hostid="261"></div><h2>The aliens who talk to Tommy Lee Jones were pullets, not CGI</h2><p><strong>The fascinating thing about watching the movie now is that, while you were making it, a major shift to CGI is happening in Hollywood. Yes, you have Rick Baker but "Jurassic Park" has been out for a few years and all the blockbusters are going heavy on CG. How did you balance the two on this movie?</strong></p><p>I was really lucky that I had Rick because not only did he design all the makeup but he designed all the aliens. And early on, he said, "Whenever you can don't use CGI, use puppets." Because puppeteers are members of SAG, meaning they are actors and will work off and ad-lib with the on-screen actors. </p><p>A perfect example is <a href="https://youtu.be/WS93LMcRGRk?t=72">the aliens in the break room</a> where Tommy's character stops to get coffee. Those are all rod puppets. We shot it in a flat-to-the-wall way so the puppeteers are behind that wall. We didn't even have to digitally remove any rods.</p><p>When Tommy says, "That's not decaf is it?" that was ad-libbed on the day in real-time. I told Tommy to say that. Then I told the puppeteer to answer in the alien voice: "Viennese Cinnamon."</p><p>Now when we see those aliens again, they are walking away with all the duty-free stuff, that's a wide shot so the only way to do that was CGI. </p><p><strong>It's funny you bring up Tommy talking to the aliens because I remember when the movie came out, stories used that scene as an example of how amazing the CGI is in the movie.</strong></p><p>Yeah! They were puppets.</p><div type="image" title="Will Smith wearing sunglasses" height="728" width="1440" msid="92600541" hostid="261"></div><h2>Will Smith came up with the famous "I make this look good" line on the day of filming</h2><p><strong>Will Smith's <a href="https://www.youtube.com/watch?v=6AKe70SX8OM">famous line in the movie</a> once he puts on the "Men in Black" suit for the first time: "You know what the difference is between you and me? I make this look good." Is there a story behind that line?</strong></p><p>Yes. That came on the day during rehearsals. Will was always ad-libbing funny stuff. Some I used and some I didn't. But with that shot, I pushed the camera on him low, that whole delivery, yeah, he came up with that on the day.</p><p>Also, the line at the end when Will is looking at the mural of the World's Fair and he turns and says to Tommy and <a href="https://metro.co.uk/2019/07/10/old-actor-rip-torn-play-men-black-10146312/">Rip</a>, "Hey, old guys." That was also a Will ad-lib. </p><div type="image" title="men in black international trailer" height="1126" width="2208" msid="92600543" hostid="261"></div><h2>Sonnenfeld says he's never seen "Men in Black: International," though he's an executive producer on the movie</h2><p><strong>The movie came out on July 2, 1997, and did amazing business, better than anyone expected. You have not made it a secret that making parts two and three were challenging. When it comes to this franchise, is it simply too many voices in the room — producers, talent, studio — trying to get their way?</strong></p><p>The issue is the first one came out and it was, at the time, the biggest box-office grosser in Sony's history. So it was a big deal.</p><p>Then, the studio and the producers decided to hire a writer for "Men in Black II" and never consulted me about the story, anything. So by the time I got the script for the first time I was not only given a script that I didn't think was right tonally but also given a release date for the movie opening. </p><p><strong>Do you think they were fishing for another director in that time when they were developing the sequel and finally settled on you?</strong></p><p>I don't know. </p><p><strong>So you get through the third film. They attempt to reboot the franchise in 2019 with "Men in Black: International," which you were an executive producer on. Were you surprised it didn't do well?</strong></p><p>I had nothing to do with it. I just got a credit. By the end of the third movie, I knew that Will, Tommy, and I were done with the franchise. The thing that's funny is "Men in Black: International" is directed by F. Gary Gray who also directed "Be Cool," the sequel to "Get Shorty."</p><p>Anyway, I think the "Men in Black" franchise, at least the first three, has a certain tone: this is all real and the comedy comes out of absurd reality. The laughs didn't come out of jokes or acknowledging that something you did or said is a joke. Also, you need two different kinds of performers. You really do need a straight man and a comedian. You need Jerry Lewis and Dean Martin. </p><p>Now, I didn't see "Men in Black: International," but I've seen the trailer and I didn't think there was enough difference in attitude between the leads. Maybe I'm wrong, but I feel you don't want two funny people in your movie, ever. </p><div type="image" title="Will Smith in a white shirt standing next to Barry Sonnenfeld in a hat and dark shirt" height="1336" width="1781" msid="92600544" hostid="261"></div><h2>Sonnenfeld would do another "Men in Black" movie if Will Smith were attached</h2><p><strong>Have you ever seen the <a href="https://www.syfy.com/syfy-wire/phil-lord-chris-miller-on-men-in-black-jump-street-crossover">"Men in Black/21 Jumpstreet" crossover script</a>?</strong></p><p>I've never seen a page of it. I think it seems like an expensive idea with a lot of high-priced producers let alone actors. </p><p><strong>If Will Smith ever called you and said, "I'm thinking of doing another one," would that sway you to direct another "Men in Black"?</strong></p><p>Sure. </p><p><strong>Has that conversation ever happened?</strong></p><p>Nope. </p><p><em>This <keyword id="11905869" type="UNKNOWN" weightage="60" keywordseo="interview" source="Orion">interview</keyword> has been condensed and edited for clarity.</em></p>

'Men in Black' at 25: Director Barry Sonnenfeld shares which famous line Will Smith made up on the spot and reveals why Michael Jackson refused to play an alien

<p><div class="KonaFilter image-container display-table float_right"><div><div class="image on-image"><p class="source"><span>Paramount Pictures</span></p><p class="caption">"Ben-Hur."</p></div><p></p></div></div>Jack Huston has been working hard on the transition from playing the fan favorite Richard Harrow on "Boardwalk Empire" to becoming a bankable movie star.</p><p>Playing the lead in Paramount's big-budget remake of "Ben-Hur" last summer was supposed to be the next step, but those hopes were dashed by the movie's disappointing box office, as it earned only <a href="http://www.boxofficemojo.com/movies/?id=benhur2016.htm" target="_blank">$94 million worldwide</a> (it had a budget of $100 million).</p><p>Huston was at the Sundance Film Festival supporting his new movie, "The Yellow Birds" over the weekend (which also stars young Han Solo, Alden Ehrenreich), and he didn't shy away from sharing his thoughts on "Ben-Hur" flopping when talking to Business Insider.</p><p>"When I went into the movie I had a very candid conversation with everyone and I said, 'We're going to get nailed,'" Huston said, stating he knew that audiences would never be able to separate this with the Charlton Heston 1959 classic he grew up on.</p><p>But Huston admits he couldn't resist a character with so many layers like Judah Ben-Hur. Though Huston said that he and director Timur Bekmambetov had different plans for Ben-Hur in their movie.</p><p>"We did something very different in that Judah was never a hero," he said. "I wanted the audience to almost be guessing who was going to win the chariot race. What I found so interesting was we could recreate this amazing character."</p><p><div class="KonaFilter image-container display-table float_right"><div><div class="image on-image"><p class="source"><span>Charley Gallay/Getty</span></p><p class="caption">Jack Huston.</p></div><p></p></div></div>But the powers-that-be at Paramount didn't feel the same way. Huston said filming the movie was seamless but that post production was "not easy."</p><p>"You hire a filmmaker, go with the filmmaker's vision," said Huston, who added that he saw numerous version of the movie in post. "The movie kind of breaks my heart because I know what we did and it's very hard when there's a lot of cooks in the kitchen."</p><p>However, Huston - who is part of an iconic Hollywood family as he's the grandson of director John Huston and great-grandson of actor Walter Huston - knows all too well how the system works. In the hopes of having a louder voice behind the scenes going forward, since the release of "Ben-Hur" Huston has created the production company CYSA Productions. He said he currently has 14 projects in different stages of development for TV and movies.</p><p>"I learned so much from 'Ben-Hur,' the whole process was invaluable," he said. "And I stand by my performance in it because it was a real choice. I know there was a much better film there that we created, it just got lost."</p>    <div class="margin-top">        <h3>NOW WATCH: <a href="http://www.businessinsider.com/shia-labeouf-shouting-match-white-nationalist-anti-trump-protest-2017-1">Shia LaBeouf got into a shouting match with a white nationalist on his anti-Trump live stream</a></h3>        <div>            <div>        <div class="ooyala-video-player" data-video-autoplay="false" data-video-id="dnN2w1OTE6EYjYOBezikZuuikg3WV9Kp" data-player-variable="ooyalapopvideo" id="ooyalaplayer_popvideo" style="width:1280px;height:720px"></div>        </div>        </div>            </div>

The star of 'Ben-Hur' says its failure at the box office 'breaks my heart'

<p></p><div class="KonaFilter image-container display-table"><div><div class="image on-image"></div><p></p></div></div><ul class="summary-list"><li>Orson Welles' final movie, "The Other Side of the Wind," will be available on Netflix on Friday.</li><li>It marks a huge cinematic moment, as the movie was considered lost forever due to Welles never finishing the movie before his death and its legal woes.</li><li>Some of the main people involved with picking up where Welles left off spoke to Business Insider about the decades-long process to get the movie to audiences.</li></ul><p>&#xa0;</p><p>42 years after Orson Welles was finally finished with his movie, "The Other Side of the Wind" (which took him 6 years to complete principal photography on), Netflix will release it on its streaming service Friday.&#xa0;</p><p>For movie lovers, it's the ultimate "lost movie," a work that the iconic director toiled over until his death on October 5, 1985, but never completed. For Welles fans, it's a glimpse into the evolution of their maestro. He will always be known for making "Citizen Kane," which many still regard as the greatest movie ever made, yet with this movie he proved he could make something as edgy and forward-thinking as the up-and-comers of the era like Dennis Hopper, Francis Ford Coppola, and William Friedkin.</p><p>But for those who have spent years (and in some cases decades) trying to get Welles' final film to the public, this weekend marks the time they can finally take a giant exhale.&#xa0;</p><p>"I'm thrilled to be done," producer Frank Marshall (behind the Indiana Jones and "Jurassic Park" franchises) told Business Insider with a laugh. He was also a production manager on "The Other Side of the Wind" when he was 25.</p><p>"It was a long and tortured road, at times," producer Filip Jan Rymsza said looking back. He worked the last nine and a half years trying to settle the copyright issues surrounding the movie.</p><p>In many ways, the story of how "The Other Side of the Wind" finally made it to audiences is as epic as Welles' ambitions for the movie itself.</p><h2>6 years of 'the poor man's process'</h2><p>In 1970, Welles was back in Los Angeles after living in self-exile in Europe for more than a decade. Sensing the independent film wave that was building in America following the success of Dennis Hopper's "Easy Rider," Welles was ready for a comeback, and the project that would bring the auteur back into the zeitgeist would be the strangely titled "The Other Side of the Wind."</p><p>It's a tale that feels as if Welles bottled everything that happened to him in the latter half of his life and spilled it into a script - though he always claimed the movie wasn't autobiographical.&#xa0;</p><p>You can be the judge.&#xa0;</p><p>The movie follows the final day in the life of famed director Jake Hannaford (played by a famed director, John Huston). Celebrating his 70th birthday, Hannaford is trying to get the finishing funds to complete his comeback movie after being in Europe for years. Told mostly using handheld, faux-documentary footage (some in color, some in black-and-white), the bulk of the movie takes place at his birthday party, where Hannaford has brought financiers, critics, filmmakers, and film students to come and see the footage of his movie (which is shot on pristine high-quality film).</p><p>Welles cast the party with real film students, real filmmakers (Dennis Hopper, Henry Jaglom, and Paul Mazurksy all appear chatting about the craft), as well as his good friend and fellow filmmaker Peter Bogdanovich in the role of Brooks Otterlake, a rising-star director who owes his career to Hannaford. This very much mirrored the real-life relationship Welles had with Bogdanovich. In fact, during the making of the movie, Bogdanovich went and made "The Last Picture Show," which would give him auteur status like his mentor.</p><p></p><div class="KonaFilter image-container display-table"><div><div class="image on-image"></div><p></p></div></div>As depicted in Josh Karp's book, "Orson Welles's Last Movie: The Making of the Other Side of the Wind," the six-year process to make "The Other Side of the Wind" was filled with many starts and stops as Welles constantly was looking for enough money to continue shooting. The script was changed almost daily by Welles, location shoots were often done without proper permits (a lot of it was shot at Bogdanovich's home during the years Welles lived there), and scenes were pulled off in low-budget ways.<p><strong>Read more:</strong> <a href="https://www.businessinsider.com/orson-welles-new-book-2015-5"><em>This book on iconic filmmaker Orson Welles looks at his infamous final movie</em></a></p><p>Take, for instance, one of the movie's most memorable scenes: the sex scene inside a car featuring Welles' collaborator and mistress Oja Kodar as the rain is pouring outside.&#xa0;</p><p>"It was the poor man's process," Marshall said of the scene, which he was on set for the shooting of. "We were just shaking the car to make it look like it was moving, would walk by with lights so it looked like cars were passing by, and had a garden hose for the rain."</p><p>With Welles pinching pennies to get the movie finished, it was impossible to fathom how he'd find the money for post production.</p><h2>Let's make a deal</h2><p>For years, Welles was very much like Hannaford, searching for deep pockets to finish his movie. Even when Welles was honored with the AFI Lifetime Achievement Award in 1975, a portion of his acceptance speech was him pitching "The Other Side of the Wind."</p><p>Sadly, by the time of his death, Welles only had a 40-minute cut of the movie to show for the six years of effort he put into making it. Left behind, along with the cut, were hours of footage, notes on how to shape it all into a feature film, and mass confusion about who really owned it all.</p><p>When Welles died in 1985, he left many of his assets to his estranged wife, Paola Mori, and following her death a year later, they were inherited by their daughter, Beatrice Welles. But Welles also left assets, like "The Other Side of the Wind" and other unfinished projects, to Kodar. Then there was a third party who claimed ownership, Mehdi Bushehri, the brother-in-law of the Shah of Iran.&#xa0;</p><p>In Welles' search for self financing on "The Other Side of the Wind," which gave him the artistic control he craved, the director found a French-based Iranian group headed by Bushehri. Through years of tension between Welles and Bushehri's company during production, things only got worse when funding became non-existent after the Shah was overthrown in 1979. However, Bushehri continued to have an ownership stake in the movie.&#xa0;</p><p>This was the mess Marshall found himself in starting in the 1990s, when he tried to help Bogdanovich and others finish what Welles started. Though there was the 40-minute Welles cut they could show potential investors, most of the movie was locked away in a Paris vault.&#xa0;</p><p></p><div class="KonaFilter image-container display-table"><div><div class="image on-image"></div><p></p></div></div>"I kept meeting with financiers - people from Canada, people from Europe, people from Malibu," Marshall said. "They all had an idea of how to do this and the more we talked about it the more riskier it got for them. And then they would not come back."<p>Then, when it seemed someone could pull it off and get the money needed, the three parties that needed to agree - Beatrice Welles, Oja Kodar, and Mehdi Bushehri - couldn't.&#xa0;</p><p>"Everyone wanted the film to be completed," Rymsza said, "they just wanted it done on their own terms. It was a minefield. And if you made an enemy with this group you made an enemy for life, so that was the tricky part."</p><p>And as more and more potential financiers went to the wayside, the legend of "The Other Side of the Wind" only grew.&#xa0;</p><p>While writing the book, Karp was told stories of footage from the movie having been seen all over the world. The movie's cinematographer, Gary Graver, kept footage of the movie in his refrigerator. Karp even remembers one of the directors who made a cameo in the movie, Paul Mazurksy, telling him that one day at a farmers' market someone walked up to him and whispered, "Hey, you ever seen 'The Other Side of the Wind?'" and that he was given an address and a time to see it.</p><p>"The stories were just crazy," Karp said. "There was also stories of this mythical three-hour cut of the movie that people told me they saw that Welles was very close to completing."&#xa0;</p><p>However, Karp could never prove that such a print existed. It's just another story that elevated the myth of "The Other Side of the Wind."</p><h2>Thanks Netflix, now open the vault</h2><p>What finally led to the vault in Paris being opened so the movie could be completed and released was Netflix.&#xa0;</p><p>One of the biggest challenges a potential investor had to take, outside of the cost for the rights all three parties would agree on, was the unknown price tag for competing the movie. Both Marshall and Rymsza said they drew up separate budgets for the cost to complete post production, but without seeing the footage and its condition, they had one hand tied behind their backs.&#xa0;</p><p>"I didn't know it would be 100 hours of material," Rymsza said. "I had done a paper inventory and so I knew the amount of film elements but it's difficult to foresee how much material there is and a lot of these factors would drive the cost of post."&#xa0;</p><p></p><div class="KonaFilter image-container display-table"><div><div class="image on-image"></div><p></p></div></div>Rymsza would not divulge how much his original budget was, only saying it was a "significant price tag" and that they did go over budget to complete the movie.&#xa0;<p>Netflix announced in August it would give the funds needed to compete the movie (it also greenlit the documentary, "They'll Love Me When I'm Dead," in which director Morgan Neville looks back on the making of the movie).</p><p>Along with a score being made for the movie, and special effects done to complete the drive-in movie scenes, there wasn't any sound for three weeks of shooting, so that was a major undertaking. Also, a team of negative cutters had to come in to reconstruct the original negative of the movie, which took months. However, Netflix never wavered in backing the project.<br>&#xa0;<br>"Netflix supported us above and beyond," Marshall said. "They were basically like, 'We know you bought an old house and you're going to have old house problems,' which is exactly what happened. And we would go in and explain what we needed and they would say, 'Okay.'"</br></br></p><h2>So what is the movie really about?</h2><p>"The Other Side of the Wind" is a fascinating look at a legend trying to get back on top. But is it autobiographical? It's hard to not come to that conclusion after watching the movie, which seems to also explore Welles' complicated relationship with Bogdanovich.</p><p>The most compelling moments of the movie are when Hannaford and Otterlake are having conversations about their work and their friendship. And on set, it was more than obvious to those who were there that Welles was putting his relationship with Bogdanovich on screen.</p><p>Take, for example, at the end of the movie in the drive-in, when Otterlake is speaking to Hannaford and at one point says to his mentor, "What did I do wrong, Daddy?"</p><p>"Huston wasn't there that day for that scene," Marshall recalled. "Peter was playing it to Orson. Orson was also directing him and his direction to Peter for that scene was, 'It's us.'"</p><p></p><div class="KonaFilter image-container display-table"><div><div class="image on-image"></div><p></p></div></div>Bogdanovich didn't just drop everything to be in "The Other Side of the Wind" whenever he was called upon by Welles, or let him live in his home with his then-wife Cybill Shepherd, he also invested money in the movie to keep it going. Welles was grateful, but had a weird way of showing it sometimes, like the time he went on "The Tonight Show" and made fun of Bogdanovich with guest host Burt Reynolds.<p>But despite all that, Bogdanovich has never faltered in trying to accomplish his mentor's final request: finish "The Other Side of the Wind" if he died.</p><p>"Peter became a much more heroic figure to me in just how much he cared about Orson," Karp, who is also a producer on the documentary, said about talking to Bogdanovich for the book. "Welles took a lot from Peter and Peter got a lot from Welles. Welles truly loved him but in a way that probably didn't feel like he was being very appreciated at the time. But Peter is a true believer, and there's a lot to be said about that."</p><p><em>"The Other Side of the Wind" and "They'll Love Me When I'm Dead" are both available Friday on Netflix.</em></p><div></div>    <div class="margin-top">        <h3>NOW WATCH: <a href="https://www.businessinsider.com/how-rubiks-cube-became-one-of-bestselling-toys-in-history-erno-rubik-2018-10">How the Rubik's Cube became one of the bestselling toys in history</a></h3>        <div>                    </div>    </div>

Money troubles, feuding heirs, and Netflix: Inside the 40-year journey to finish Orson Welles' last movie

<p><div class="KonaFilter image-container display-table"><div><div class="image"><p class="source"><span>Screenshot via The Travel Channel</span></p></div><p></p></div></div>Anthony Bourdain was tweeting while waiting for his plane to Shanghai to take off today, and wound up answering some pressing fan questions on Twitter.</p>
<p>It started when the "No Reservations" host complimented the movie "<a href="https://twitter.com/ChefTheFilm" target="_blank">Chef</a>" (<a href="http://chefthefilm.com/" target="_blank">coming to theaters on May 9th</a>), saying that he couldn't think<span style="font-size: 15px; line-height: 1.5em;"> of another Western film that "got the pro-cooking details as right."</span></p>
<p><span style="font-size: 15px; line-height: 1.5em;">His followers began asking what other food documentaries Bourdain loved, and the questions quickly veered away from movies to all-things Bourdain.</span><span style="font-size: 15px; line-height: 1.5em;"><br /></span></p>
<blockquote class="twitter-tweet" lang="en">
<p>"<a href="https://twitter.com/hassansalman">@hassansalman</a>: <a href="https://twitter.com/Bourdain">@Bourdain</a> Which actor would portray you best in a movie about you?" Steve Buscemi</p>
- Anthony Bourdain (@Bourdain) <a href="https://twitter.com/Bourdain/statuses/461492926955413504">April 30, 2014</a></blockquote>
<blockquote class="twitter-tweet" lang="en">
<p>"<a href="https://twitter.com/peejyoung">@peejyoung</a>: <a href="https://twitter.com/Bourdain">@Bourdain</a> What is the biggest crime against Sushi you've come across on your travels?" Mayonnaise</p>
- Anthony Bourdain (@Bourdain) <a href="https://twitter.com/Bourdain/statuses/461510707998384128">April 30, 2014</a></blockquote>
<blockquote class="twitter-tweet" lang="en">
<p>"<a href="https://twitter.com/Shermanscorner">@Shermanscorner</a>: <a href="https://twitter.com/Bourdain">@Bourdain</a> Thin crust or deep dish?" Deep dish is not pizza.</p>
- Anthony Bourdain (@Bourdain) <a href="https://twitter.com/Bourdain/statuses/461512938512470016">April 30, 2014</a></blockquote>
<p>He was also asked a few classic foodie questions.</p>
<blockquote class="twitter-tweet" lang="en">
<p>"<a href="https://twitter.com/bakerisms">@bakerisms</a>: <a href="https://twitter.com/Bourdain">@Bourdain</a> Dine with any person dead or alive, who would it be?" John Huston</p>
- Anthony Bourdain (@Bourdain) <a href="https://twitter.com/Bourdain/statuses/461504688220045312">April 30, 2014</a></blockquote>
<blockquote class="twitter-tweet" lang="en">
<p>"<a href="https://twitter.com/DanNordness">@DanNordness</a>: <a href="https://twitter.com/Bourdain">@Bourdain</a> your favorite - if any - (real) Chinese dish?" Ma Po Tofu</p>
- Anthony Bourdain (@Bourdain) <a href="https://twitter.com/Bourdain/statuses/461491261661528064">April 30, 2014</a></blockquote>
<blockquote class="twitter-tweet" lang="en">
<p>"<a href="https://twitter.com/ChadFKittrell">@ChadFKittrell</a>: <a href="https://twitter.com/Bourdain">@Bourdain</a> Martinis: straight up or on the rocks?" Up!!!</p>
- Anthony Bourdain (@Bourdain) <a href="https://twitter.com/Bourdain/statuses/461511776434417664">April 30, 2014</a></blockquote>

<blockquote class="twitter-tweet" lang="en">
<p>"<a href="https://twitter.com/ok_computor">@ok_computor</a>: <a href="https://twitter.com/Bourdain">@Bourdain</a> Best Documentary that covers the restaurant world?" JIRO Dreams of Sushi</p>
- Anthony Bourdain (@Bourdain) <a href="https://twitter.com/Bourdain/statuses/461477640730574848">April 30, 2014</a></blockquote>
<p>And of course…</p>
<blockquote class="twitter-tweet" lang="en">
<p>"<a href="https://twitter.com/smith_jordo">@smith_jordo</a>: <a href="https://twitter.com/Bourdain">@Bourdain</a> Your last meal on death row??" JIRO</p>
- Anthony Bourdain (@Bourdain) <a href="https://twitter.com/Bourdain/statuses/461478593345093632">April 30, 2014</a></blockquote>
<p>You can see the full Q&amp;A session at <a href="https://twitter.com/Bourdain" target="_blank">Bourdain's Twitter</a>.</p>

Anthony Bourdain Just Did A Hilarious, Impromptu Q&A On Twitter

<p><div class="KonaFilter image-container display-table float_right"><div><div class="image on-image"></div><p></p></div></div>Considered one of the greatest artists of all time, Orson Welles is best known for his legendary work as an actor and director on Broadway - scaring the country with his fake "<a href="http://en.wikipedia.org/wiki/The_War_of_the_Worlds_%28radio_drama%29">The War of the Worlds</a>" radio broadcast and then going to Hollywood and creating masterpieces like "<a href="http://www.imdb.com/title/tt0033467/?ref_=ttawd_awd_tt">Citizen Kane,</a>" for which he won the Oscar for Best Original Screenplay in 1942.</p><p>But his later years brought financial turmoil and were marked by a stubborn obsession with having creative freedom on anything he touched. He ended up living in exile in Europe for more than a decade.</p><p>Then in the summer of 1970, Welles returned to Hollywood with dreams of a comeback - but on his own terms.</p><p>He prepared to self-finance and direct a film he "wrote" (it's still uncertain if there ever was a complete script) titled "The Other Side of the Wind."</p><p>The story would take place during a single day in the life of a legendary, self-destructive filmmaker named Jake Hannaford (played by John Huston) who returns to Hollywood after years of a self-imposed exile. Despite the obvious similarity to his own life, Welles always insisted that the film was not autobiographical.</p><p>Like all things in Welles' life, the proposed eight-week shoot on a micro-budget did not go as planned. The film would consume the maverick's life until his death in 1985. And to this day, the unfinished film has been tied up in legal and financial battles that you'd think would only have been possible in a sensational story penned by Welles.</p><p>In the new book, "<a href="http://www.amazon.com/Orson-Welless-Last-Movie-Making/dp/1250007089">Orson Welles's Last Movie: The Making of 'The Other Side of the Wind</a>,'" author Josh Karp looks back on the turbulent making of the film, to help pay for which Welles took on commercial work, and the bizarre happenings related to the film following his death.</p><p><div class="KonaFilter image-container display-table"><div><div class="image on-image"></div><p></p></div></div></p><p><div class="KonaFilter image-container display-table"><div><div class="image on-image"></div><p></p></div></div></p><p><span style="line-height: 1.5em;">In a related note, just this week (which happens to fall on Welles' 100th birthday) it was announced that a crowdfunding campaign on </span><a href="https://www.indiegogo.com/projects/other-side-of-the-wind-orson-welles-last-film">Indiegogo</a><span style="line-height: 1.5em;"> had begun to raise the finishing funds needed to get the film closer to being released to audiences (Welles completed shooting, but never finished editing).</span></p><p>Here are excerpts from the book, which is currently on sale.</p><p><div class="KonaFilter image-container display-table"><div><div class="image on-image"></div><p></p></div></div></p><p><em style="line-height: 1.5em;">Orson Welles always loved telling a good story. It didn't matter if it was for the screen or at a dinner party. As Karp writes below, one of those stories, about Welles' fistfight with Ernest Hemingway, led to the inspiration for "The Other Side of the Wind":</em></p><p><em>In the early years of shooting "The Other Side of the Wind" (1970), Welles was able to rent time on the MGM studio backlot at a cheap rate because he had his crew pretend they were UCLA film students. On the dilapidated sets of old Westerns shot there, Welles and his team filmed scenes that didn't involve Hannaford (Welles hadn't cast Huston yet; when they needed a shot of Hannaford's back or a line said off-camera, Welles would play him). Though the crew quickly learned that Welles' methods were unorthodox and volatile.</em></p><p><em><div class="KonaFilter image-container display-table"><div><div class="image on-image"></div><p></p></div></div></em><em style="line-height: 1.5em;">Most of the crew were obsessed with pleasing Welles. That was evident by 1974, when the production moved to Carefree, Arizona and Welles was in need of a few props for a scene.</em></p><p><em>The bizarre stories on set only increased when John Huston came on the film.</em></p><p><em><div class="KonaFilter image-container display-table"><div><div class="image on-image"></div><p></p></div></div></em><em style="line-height: 1.5em;">At the time of Welles' death of a heart attack in the fall of 1985, "The Other Side of the Wind" was still in post production and Welles was in battles with his financiers over its completion. The drama around the film only increased in the following years. But Welles' longtime mistress and star of "Wind," <a href="http://en.wikipedia.org/wiki/Oja_Kodar">Oja Kodar</a>, was determined to hand the film over to another iconic filmmaker for completion. She first tried John Huston in 1986, but petty matters led to that not going forward. Kodar then tried to reach out to some of the filmmakers that made up New Hollywood.</em></p>    <div class="margin-top">        <h3>NOW WATCH: <a href="http://www.businessinsider.com/grateful-dead-influence-on-game-of-thrones-2015-5">How a legendary rock band ended up influencing the 'Game of Thrones' books</a></h3>        <div>            <div>        <div class="ooyala-video-player" data-video-autoplay="false" data-video-id="tyeDFwdDpcZ_UprD_SKjEAoLQipVk1tu" data-player-variable="ooyalapopvideo" id="ooyalaplayer_popvideo" style="width:1280px;height:720px"></div>        </div>        </div>            </div>

The new book on iconic filmmaker Orson Welles looks at his infamous unreleased final movie

<p class="p1">This weekend, three '80s remakes will hit theaters: "RoboCop," "Endless Love," and Kevin Hart's "About Last Night."<span style="font-size: 15px; line-height: 1.5em;"> </span></p>
<p class="p1">While only one of those films has <a href="http://www.businessinsider.com/box-office-prediction-about-last-night-robocop-remake-2014-2" target="_blank">decent reviews</a> ("About Last Night"), there are plenty of remakes that improve upon the original.</p>
<p><span style="line-height: 1.5em; font-size: 15px;">We've weeded through a bunch of remakes to find the best. </span></p>
<p>The movies on this list were selected according to audience and critical reception via Rotten Tomatoes and Metacritic (where available) along with awards won. </p>
<h2 class="p1"><strong>"The Maltese Falcon" (1941)<div class="KonaFilter image-container"><div class="image on-image"><p class="source"><span>Warner Bros. </span></p></div><p></p></div></strong></h2>
<p class="p1"><strong>Remake of: </strong>"<a href="http://www.imdb.com/title/tt0022111/" target="_blank">The Maltese Falcon</a>" (1931)<strong><br /><span style="line-height: 1.5em;">Rotten Tomatoes: </span></strong><a href="http://www.rottentomatoes.com/m/1013139-maltese_falcon/" target="_blank">100%</a><span style="line-height: 1.5em;"> / </span><a href="http://www.rottentomatoes.com/m/1063050-maltese_falcon/" target="_blank">67%</a>*</p>
<p class="p1">John Huston's adaptation of the best seller starring Humphrey Bogart as private detective Sam Spade has been called one of the <a href="http://www.afi.com/10top10/moviedetail.aspx?id=27025&amp;thumb=3" target="_blank">American Film Institute's best films</a> and has been <a href="http://www.imdb.com/title/tt0033870/awards?ref_=tt_awd" target="_blank">nominated for three Oscars.</a></p>
<p class="p1">Even Roger Ebert called it one of the <a href="http://www.rogerebert.com/reviews/great-movie-the-maltese-falcon-1941" target="_blank">best movies ever made</a>.</p>
<p class="p1">The film was so successful, Warner Bros. originally wanted Huston to work on a sequel in '42. That project was shelved since he and the actors went to <a href="http://web.archive.org/web/20070126102600/http://www.moderntimes.com/palace/falcon/" target="_blank">work on other projects</a>.</p>
<h2 class="p1"><strong>"The Ten Commandments" (1956)</strong></h2>
<p class="p1"><strong><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>Paramount</span></p></div><p></p></div></div><br /></strong></p>
<p class="p1"><strong>Remake of:</strong> "<a href="http://www.imdb.com/title/tt0014532/?ref_=nv_sr_4" target="_blank">The Ten Commandments</a>" (1923)<br /><strong>Rotten Tomatoes: </strong><a href="http://www.rottentomatoes.com/m/1021015-ten_commandments/" target="_blank">91%</a> / <a href="http://www.rottentomatoes.com/m/1021014-ten_commandments/" target="_blank">83%</a></p>
<p class="p1">More than 30 years after making the silent film, Cecil B. DeMille returned to direct the '56 classic. The movie <a href="http://www.imdb.com/title/tt0049833/?ref_=nv_sr_1" target="_blank">won one Oscar for visual effects</a> <span style="line-height: 1.5em;">and airs every year around Easter on television. </span></p>
<p class="p1">"The Ten Commandments" is among the highest-grossing films of all time when <a href="http://boxofficemojo.com/alltime/adjusted.htm" target="_blank">adjusted for inflation</a>.</p>
<h2 class="p1"><strong><span>"Airplane!" (1980)</span></strong></h2>
<p class="p1"><strong><span><strong><span><div class="KonaFilter image-container"><div class="image on-image"><p class="source"><span>Paramount</span></p></div><p></p></div></span></strong></span></strong></p>
<p class="p1"><strong>Based on:</strong> "<a href="http://www.imdb.com/title/tt0051221/?ref_=nv_sr_3" target="_blank">Zero Hour!</a>" (1957)<br /><span style="line-height: 1.5em;"><strong>Rotten Tomatoes:</strong> <a href="http://www.rottentomatoes.com/m/airplane/" target="_blank">98%</a> / <a href="http://www.rottentomatoes.com/m/zero_hour/" target="_blank">46%</a>**</span></p>
<p class="p1"><span style="line-height: 1.5em;">Chances are you're unfamiliar with '50s movie "Zero Hour!" But if it didn't exist, there probably never would have been an "Airplane!" Leslie Nielsen's parody classic <a href="http://www.slashfilm.com/lol-see-how-airplane-liberally-borrowed-from-1957-thriller-zero-hour/" target="_blank">borrows heavily from the original</a>. </span></p>
<h2 class="p1"><strong>"The Thing" (1982)</strong></h2>
<p class="p1"><div class="KonaFilter image-container"><div class="image on-image"><p class="source"><span>Universal</span></p></div><p></p></div></p>
<p class="p1"><strong>Remake of:</strong> "<a href="http://www.imdb.com/title/tt0044121/?ref_=nv_sr_1" target="_blank">The Thing From Another World</a>" (1951)<br /><strong style="line-height: 1.5em;">Rotten Tomatoes:</strong><span style="line-height: 1.5em;"> <a href="http://www.rottentomatoes.com/m/1021244-thing/" target="_blank">79%</a> / <a href="http://www.rottentomatoes.com/m/1021242-thing/" target="_blank">87%</a><span> </span></span></p>
<p class="p1">Time may have named the original the "<a href="http://entertainment.time.com/2008/12/12/top-ten1950s-sci-fi-movies/" target="_blank">Best sci-fi movie of the 1950s</a>," however, <span>you can't deny the brilliance of John Carpenter</span> (the man who brought us "<a href="http://www.businessinsider.com/halloween-facts-about-the-movie-2012-11" target="_blank">Halloween</a>") and <a href="http://www.businessinsider.com/the-awesomeness-of-1980s-kurt-russell-gifs--video-2013-9" target="_blank">'80s Kurt Russell.</a> </p>
<p class="p1"><a href="http://www.totalfilm.com/reviews/dvd/the-thing" target="_blank">Total Film</a>:</p>
<p class="p1" style="padding-left: 30px;"><span style="line-height: 1.5em;">"The Thing is one of [Carpenter's] greatest moments, creating a terrifying atmosphere of claustrophobia, suspense and paranoia. And Kurt Russell is as good as he's ever been, wearing one of the best beards in movie history."</span></p>
<p class="p1"><span style="line-height: 1.5em;"><a href="http://www.empireonline.com/reviews/reviewcomplete.asp?FID=132348" target="_blank">Empire</a>:</span></p>
<p class="p1" style="padding-left: 30px;"><span style="line-height: 1.5em;"><span>"<span>The Thing is a peerless masterpiece of relentless suspense, retina-wrecking visual excess and outright, nihilistic terror. ... </span>Back in 1997 Carpenter told Empire that 'You'll never, ever, see anything like The Thing again.' Like MacReady and Childs we're still waiting. We might be for a long time yet."</span></span></p>
<h2 class="p1"><strong>"Little Shop of Horrors" (1986)</strong><div class="KonaFilter image-container"><div class="image on-image"><p class="source"><span>Warner Bros.</span></p></div><p></p></div></h2>
<p class="p1"><strong>Remake of: </strong>"The Little Shop of Horrors" (1960)<br /><strong>Rotten Tomatoes: </strong><a href="http://www.rottentomatoes.com/m/1012515-little_shop_of_horrors/" target="_blank">90%</a> / <a href="http://www.rottentomatoes.com/m/1012514-little_shop_of_horrors/" target="_blank">92%</a><br /><span style="line-height: 1.5em;"><strong>Metacritic:</strong>  <a href="http://www.metacritic.com/movie/little-shop-of-horrors" target="_blank">81%</a></span></p>
<p class="p1">Sure, the original may have had Jack Nicholson in it, but that was in a small, small role. While the critical reception for the original may edge out the remake, Frank Oz's rendition of the musical based off the original film with Steve Martin and James Belushi <span style="line-height: 1.5em;">helped make it a cult classic.</span></p>
<p class="p1"><a href="http://www.nytimes.com/movie/review?res=9A0DE2DB113DF93AA25751C1A960948260&amp;partner=Rotten%2520Tomatoes" target="_blank">The New York Times</a>:</p>
<p class="p1" style="padding-left: 30px;">"WHO could have imagined that ''Little Shop of Horrors,'' the 1960 comic horror film shot by Roger Corman in two days' time, would continue to grow bigger, mightier and more formidable, much like the man-eating plant that is its unsung star? …  Mr. Martin's solo number has been hilariously staged, as he combines Elvis Presley posturing with a wonderfully wicked delivery of phrases like ''root canal.'' Seldom has one single film sequence, in which Mr. Martin gleefully terrifies his patients and brandishes the most ghastly array of instruments, done as much to set back the integrity of an entire profession."</p>
<h2 class="p1"><strong><strong>"Fatal Attraction" (1987)</strong></strong></h2>
<p class="p1"><strong><strong><div class="KonaFilter image-container"><div class="image on-image"><p class="source"><span>Paramount</span></p></div><p></p></div></strong></strong></p>
<p class="p1"><strong>Remake of:</strong> British television movie "Diversion"<br /><span style="line-height: 1.5em;"><strong>Rotten Tomatoes:</strong> </span><a href="http://www.rottentomatoes.com/m/1007141-fatal_attraction/" target="_blank">78%<br /></a><strong>Metacritic:</strong> <a href="http://www.metacritic.com/movie/fatal-attraction" target="_blank">67</a><a href="http://www.rottentomatoes.com/m/1007141-fatal_attraction/" target="_blank"></a></p>
<p class="p1">Technically, we're still going to count this one since it's probably not well-known that this was an adaptation of a TV movie.</p>
<p class="p1">Fun fact: "Diversion" writer and director James Dearden actually wrote the screenplay for the Hollywood film adaptation. The movie went on to become the <a href="http://boxofficemojo.com/movies/?id=fatalattraction.htm" target="_blank">highest-grossing film of the year worldwide</a> and received six Oscar nominations including Best Picture, Best Actress, and Best Director.</p>
<h2 class="p1"><strong>"True Lies" (1994)</strong></h2>
<p class="p1"><strong><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>Fox</span></p></div><p></p></div></div><br /></strong></p>
<p class="p1"><span style="line-height: 1.5em;"><strong>Remake of:</strong> French film "<a href="http://www.imdb.com/title/tt0103103/" target="_blank">La Totale!</a>" (1991)<br /><span><strong>Rotten Tomatoes:</strong> </span><a href="http://www.rottentomatoes.com/m/true_lies/" target="_blank">72% </a> / n/a</span></p>
<p class="p1">We'll admit, we've never seen the French film from Claude Zidi; however, you can't beat a James Cameron film starring Arnold Schwarzenegger secretly working as a government agent while his wife (Jamie Curtis) believes he's a computer salesman.</p>
<p class="p1">The film received an Oscar nod for Best Visual Effects. <span style="line-height: 1.5em;">At the time, the film was one of the most expensive ever made (an estimated <a href="http://boxofficemojo.com/movies/?id=truelies.htm" target="_blank">$115 million</a>)</span></p>
<h2><strong>"Ocean's Eleven" (2001)</strong><strong style="line-height: 1.5em;"> </strong></h2>
<p class="p1"><strong><span><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>Warner Bros. </span></p></div><p></p></div></div></span></strong></p>
<p class="p1"><strong><span>Remake of: </span></strong>"<a href="http://www.imdb.com/title/tt0054135/?ref_=nv_sr_4" target="_blank">Ocean's Eleven</a>" (1960)<strong><span><br />Rotten Tomatoes: </span></strong><a href="http://www.rottentomatoes.com/m/oceans_eleven/" target="_blank">82%</a> / <a href="http://www.rottentomatoes.com/m/1015373-oceans_eleven/" target="_blank">46%</a> </p>
<p class="p1">The Rat Pack may have starred in the original, but it was George Clooney, Matt Damon, and Brad Pitt, who made robbing a Las Vegas casino look awesome while also infuriating Andy Garcia.</p>
<p class="p1">Rolling Stone critic <a href="What%20is%20Oscar-winning%20director%20Steven%20Soderbergh%20doing%20remaking%20a%201960%20Rat%20Pack%20flick%20best%20remembered%20for%20Frank%20Sinatra's%20orange%20sweaters%20and%20Dean%20Martin%20being%20Dino?%20Answer:%20having%20a%20ball." target="_blank">Peter Travers</a>: </p>
<p class="p1" style="padding-left: 30px;"><span>"What is Oscar-winning director Steven Soderbergh doing remaking a 1960 Rat Pack flick best remembered for Frank Sinatra's orange sweaters and Dean Martin being Dino? Answer: having a ball ... </span><span>Forget Oscar, Ocean's Eleven is the coolest damned thing around." </span></p>
<h2 class="p1"><strong><span><span><strong>"The Departed" (2006)</strong></span></span></strong></h2>
<p class="p1"><strong><span><span><strong><strong><div class="KonaFilter image-container"><div class="image on-image"><p class="source"><span><a href="http://www.youtube.com/watch?v=SGWvwjZ0eDc">Departed trailer</a></span></p></div><p></p></div></strong></strong></span></span></strong></p>
<p class="p1"><strong>Remake of:</strong> "<a href="http://www.imdb.com/title/tt0338564/?ref_=nv_sr_1" target="_blank">Infernal Affairs</a>" (2002)<br /><strong>Rotten Tomatoes: </strong><a href="http://www.rottentomatoes.com/m/departed/">92%</a> / <a href="http://www.rottentomatoes.com/m/internal_affairs/">95%<br /></a><strong>Metacritic</strong>: <a href="http://www.rottentomatoes.com/m/internal_affairs/"><span></span></a><a href="http://www.metacritic.com/movie/the-departed">86</a><a href="http://www.rottentomatoes.com/m/internal_affairs/"><span> / </span></a><a href="http://www.metacritic.com/movie/infernal-affairs">75</a><a href="http://www.rottentomatoes.com/m/internal_affairs/"> </a></p>
<p class="p1">Another phenomenal casting list comprised of Jack Nicholson, Matt Damon, Leonardo DiCaprio, Mark Wahlberg, Martin Sheen, Vera Farmiga, and Alec Baldwin <span>about an undercover cop (DiCaprio) </span><span style="line-height: 1.5em;">trying to discover a mole (Damon) in the Massachusetts State Police force.</span></p>
<p class="p1"><span style="line-height: 1.5em;">The film won four Oscars including Best Picture of the Year and Best Director. </span></p>
<p class="p1"><span style="line-height: 1.5em;">Roger Ebert <a href="http://www.rogerebert.com/reviews/the-departed-2007" target="_blank">gave the film four stars</a>, highlighting the positives of both films, while not discrediting either.</span></p>
<p class="p1" style="padding-left: 30px;"><span style="line-height: 1.5em;"><span>"The story is inspired by "</span><a href="http://www.rogerebert.com/reviews/infernal-affairs-2004">Infernal Affairs</a><span>" (2002) by </span><a href="http://www.rogerebert.com/cast-and-crew/alan-mak">Alan Mak</a><span> and </span><a href="http://www.rogerebert.com/cast-and-crew/andrew-lau">Andrew Lau</a><span>, the most successful Hong Kong film of recent years. Indeed, having just re-read my 2004 review of that film, I find I could change the names, cut and paste it, and be discussing this film. But that would only involve the surface, the plot and a few philosophical quasi-profundities. What makes this a Scorsese film, and not merely a retread, is the director's use of actors, locations and energy, and its buried theme."</span></span></p>
<h2 class="p1"><strong>"True Grit" (2010)</strong></h2>
<p class="p1"><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span><a href="http://www.youtube.com/watch?v=CUiCu-zuAgM">Paramount / True Grit trailer </a></span></p></div><p></p></div></div></p>
<p class="p1"><strong>Remake of:</strong> "<a href="http://www.imdb.com/title/tt0065126/" target="_blank">True Grit</a>" (1969)<br /><strong><span style="line-height: 1.5em;">Rotten Tomatoes: </span></strong><a href="http://www.rottentomatoes.com/m/true-grit-2010/">96%</a><span style="line-height: 1.5em;"> / </span><a href="http://www.rottentomatoes.com/m/true_grit/">90%<br /></a><strong>Metacritc: </strong><a href="http://www.metacritic.com/movie/true-grit" target="_blank">80</a><a href="http://www.rottentomatoes.com/m/true_grit/"><br /></a></p>
<p class="p1">Though John Wayne made the original film a classic and <a href="http://www.imdb.com/title/tt0065126/?ref_=nv_sr_2" target="_blank">earned an Oscar for his performance</a>, the update from the Coen brothers starring Jeff Bridges as U.S. Marshal Rooster Cogburn along with Matt Damon and Josh Brolin was celebrated by <a href="http://www.rottentomatoes.com/m/true-grit-2010/" target="_blank">critics</a> and moviegoers not only for sticking closer to the source material, but also all of the actors' performances.</p>
<p class="p1">However, despite <a href="http://www.imdb.com/title/tt1403865/?ref_=nv_sr_1" target="_blank">10 Oscar nominations</a> - including Best Picture, Director, and Actor - it won none.</p>
<p class="p1">The Denver Post's <a href="http://www.denverpost.com/movies/ci_16905967" target="_blank">Lisa Kennedy</a>:</p>
<p style="padding-left: 30px;">"This 'True Grit' makes the original almost unwatchable except as a curio ... <span style="line-height: 1.5em;">In the new version, Portis' novel is returned to its proper locale: the post-Civil War frontier where the James brothers raised such a nasty ruckus."</span></p>
<p><span style="line-height: 1.5em;"><a href="http://www.rogerebert.com/reviews/true-grit-2010" target="_blank">Ebert</a>:</span></p>
<p class="p1" style="padding-left: 30px;">"In the Coen Brothers' "True Grit," <a href="http://www.rogerebert.com/cast-and-crew/jeff-bridges"><span class="s1">Jeff Bridges</span></a> is not playing the <a href="http://www.rogerebert.com/cast-and-crew/john-wayne"><span class="s1">John Wayne</span></a> role. He's playing the Jeff Bridges role - or, more properly, the role created in the enduring novel by <a href="http://www.rogerebert.com/cast-and-crew/charles-portis"><span class="s1">Charles Portis</span></a>, much of whose original dialogue can be heard in this film. Bridges doesn't have the archetypal stature of the Duke. Few ever have. But he has here, I believe, an equal screen presence. We always knew we were looking at John Wayne in the original "<a href="http://www.rogerebert.com/reviews/true-grit-1969"><span class="s1">True Grit</span></a>" (1969). When we see Rooster Cogburn in this version, we're not thinking about Jeff Bridges. … Bridges' interpretation is no doubt closer to the reality of a lawman in those years of the West."</p>
<p class="p1"><em>*Denotes critical reviews for the remake and original, respectively when applicable.<br /></em><em style="line-height: 1.5em;"><em>**Audience score</em></em></p>

10 Movie Remakes That Are Better Than The Original

<p>Last week, Sony Pictures and MGM released its remake of horror classic "<a href="http://www.businessinsider.com/carrie-differences-new-versus-old-2013-10" target="_blank">Carrie</a>" starring Chloe Moretz and Julianne Moore.</p>
<p>While it may not be better than the <a href="http://www.imdb.com/title/tt0074285/" target="_blank">1976 original</a> - it's tough to top the Oscar-nominated performances of Sissy Spacek and Piper Laurie - there are plenty of <keyword id="920888" type="UNKNOWN" weightage="60" keywordseo="Remakes">remakes</keyword> that have improved upon the original. </p>
<p><span style="line-height: 1.5em;">We've weeded through a ton of remakes - including some you may not realize are remakes - to find the best ones. </span></p>
<p>The films on this list were selected according to audience and critical reception via Rotten Tomatoes and Metacritic (where available) along with awards won. If two films were equally matched in reviews, we went with the movie more fans are familiar with today.</p>
<p>From oldest to newest, here are 10 films that are better than its original.</p>
<h2 class="p1"><strong>"The Maltese Falcon" (1941)<div class="KonaFilter image-container"><div class="image on-image"><p class="source">Warner Bros. </p></div><p></p></div></strong></h2>
<p class="p1"><strong>Remake of: </strong>"<a href="http://www.imdb.com/title/tt0022111/" target="_blank">The Maltese Falcon</a>" (1931)<strong><br /><span style="line-height: 1.5em;">Rotten Tomatoes: </span></strong><a href="http://www.rottentomatoes.com/m/1013139-maltese_falcon/" target="_blank">100%</a><span style="line-height: 1.5em;"> / </span><a href="http://www.rottentomatoes.com/m/1063050-maltese_falcon/" target="_blank">67%</a>*</p>
<p class="p1">John Huston's adaptation of the best seller starring Humphrey Bogart as private detective Sam Spade has been called one of the <a href="http://www.afi.com/10top10/moviedetail.aspx?id=27025&amp;thumb=3" target="_blank">American Film Institute's best films</a> and has been <a href="http://www.imdb.com/title/tt0033870/awards?ref_=tt_awd" target="_blank">nominated for three Oscars.</a></p>
<p class="p1">Even Roger Ebert called it one of the <a href="http://www.rogerebert.com/reviews/great-movie-the-maltese-falcon-1941" target="_blank">best movies ever made</a>.</p>
<p class="p1">The <keyword id="681" type="COMPANY" weightage="60" keywordseo="film">film</keyword> was so successful, Warner Bros. originally wanted Huston to work on a sequel in '42. That project was shelved since since he and the actors went to <a href="http://web.archive.org/web/20070126102600/http://www.moderntimes.com/palace/falcon/" target="_blank">work on other projects</a>.</p>
<h2 class="p1"><strong>"The Ten Commandments" (1956)</strong></h2>
<p class="p1"><strong><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source">Paramount</p></div><p></p></div></div><br /></strong></p>
<p class="p1"><strong>Remake of:</strong> "<a href="http://www.imdb.com/title/tt0014532/?ref_=nv_sr_4" target="_blank">The Ten Commandments</a>" (1923)<br /><strong>Rotten Tomatoes: </strong><a href="http://www.rottentomatoes.com/m/1021015-ten_commandments/" target="_blank">91%</a> / <a href="http://www.rottentomatoes.com/m/1021014-ten_commandments/" target="_blank">83%</a></p>
<p class="p1">More than 30 years after making the silent film, Cecil B. DeMille returned to direct the '56 classic. The movie <a href="http://www.imdb.com/title/tt0049833/?ref_=nv_sr_1" target="_blank">won one Oscar for visual effects</a> <span style="line-height: 1.5em;">and airs every year around Easter on television. </span></p>
<p class="p1">"The Ten Commandments" is among the highest-grossing films of all time when <a href="http://boxofficemojo.com/alltime/adjusted.htm" target="_blank">adjusted for inflation</a>.</p>
<h2 class="p1"><strong><span>"Airplane!" (1980)</span></strong></h2>
<p class="p1"><strong><span><strong><span><div class="KonaFilter image-container"><div class="image on-image"><p class="source">Paramount</p></div><p></p></div></span></strong></span></strong></p>
<p class="p1"><strong>Based on:</strong> "<a href="http://www.imdb.com/title/tt0051221/?ref_=nv_sr_3" target="_blank">Zero Hour!</a>" (1957)<br /><span style="line-height: 1.5em;"><strong>Rotten Tomatoes:</strong> <a href="http://www.rottentomatoes.com/m/airplane/" target="_blank">98%</a> / <a href="http://www.rottentomatoes.com/m/zero_hour/" target="_blank">46%</a>**</span></p>
<p class="p1"><span style="line-height: 1.5em;">Chances are you're unfamiliar with '50s movie "Zero Hour!" But if it didn't exist, there probably never would have been an "Airplane!". Leslie Nielsen's parody classic <a href="http://www.slashfilm.com/lol-see-how-airplane-liberally-borrowed-from-1957-thriller-zero-hour/" target="_blank">borrows heavily from the original</a>. </span></p>
<p class="p1"><span style="line-height: 1.5em;">Surely we must be joking? We're not, and don't call us Shirley.</span></p>
<h2 class="p1"><strong>"The Thing" (1982)</strong></h2>
<p class="p1"><div class="KonaFilter image-container"><div class="image on-image"><p class="source">Universal</p></div><p></p></div></p>
<p class="p1"><strong>Remake of:</strong> "<a href="http://www.imdb.com/title/tt0044121/?ref_=nv_sr_1" target="_blank">The Thing From Another World</a>" (1951)<br /><strong style="line-height: 1.5em;">Rotten Tomatoes:</strong><span style="line-height: 1.5em;"> <a href="http://www.rottentomatoes.com/m/1021244-thing/" target="_blank">79%</a> / <a href="http://www.rottentomatoes.com/m/1021242-thing/" target="_blank">87%</a><span> </span></span></p>
<p class="p1">Time may have named the original the "<a href="http://entertainment.time.com/2008/12/12/top-ten1950s-sci-fi-movies/" target="_blank">Best sci-fi movie of the 1950s</a>," however, you can't deny John Carpenter (the man who brought us "<a href="http://www.businessinsider.com/halloween-facts-about-the-movie-2012-11" target="_blank">Halloween</a>") and <a href="http://www.businessinsider.com/the-awesomeness-of-1980s-kurt-russell-gifs--video-2013-9" target="_blank">'80s Kurt Russell.</a> </p>
<p class="p1"><a href="http://www.totalfilm.com/reviews/dvd/the-thing" target="_blank">Total Film</a>:</p>
<p class="p1" style="padding-left: 30px;"><span style="line-height: 1.5em;">"The Thing is one of [Carpenter's] greatest moments, creating a terrifying atmosphere of claustrophobia, suspense and paranoia. And Kurt Russell is as good as he's ever been, wearing one of the best beards in movie history."</span></p>
<p class="p1"><span style="line-height: 1.5em;"><a href="http://www.empireonline.com/reviews/reviewcomplete.asp?FID=132348" target="_blank">Empire</a>:</span></p>
<p class="p1" style="padding-left: 30px;"><span style="line-height: 1.5em;"><span>"<span>The Thing is a peerless masterpiece of relentless suspense, retina-wrecking visual excess and outright, nihilistic terror. ... </span>Back in 1997 Carpenter told Empire that 'You'll never, ever, see anything like The Thing again.' Like MacReady and Childs we're still waiting. We might be for a long time yet."</span></span></p>
<h2 class="p1"><strong>"Little Shop of Horrors" (1986)</strong><div class="KonaFilter image-container"><div class="image on-image"><p class="source">Warner Bros.</p></div><p></p></div></h2>
<p class="p1"><strong>Remake of: </strong>"The Little Shop of Horrors" (1960)<br /><strong>Rotten Tomatoes: </strong><a href="http://www.rottentomatoes.com/m/1012515-little_shop_of_horrors/" target="_blank">90%</a> / <a href="http://www.rottentomatoes.com/m/1012514-little_shop_of_horrors/" target="_blank">92%</a><br /><span style="line-height: 1.5em;"><strong>Metacritic:</strong>  <a href="http://www.metacritic.com/movie/little-shop-of-horrors" target="_blank">81%</a></span></p>
<p class="p1">Sure, the original may have had Jack Nicholson in it, but that was in a small, small role. While the critical reception for the original may edge out the remake, Frank Oz's rendition of the musical based off the original film with Steve Martin and James Belushi <span style="line-height: 1.5em;">helped make it a cult classic.</span></p>
<p class="p1"><a href="http://www.nytimes.com/movie/review?res=9A0DE2DB113DF93AA25751C1A960948260&amp;partner=Rotten%2520Tomatoes" target="_blank">The New York Times</a>:</p>
<p class="p1" style="padding-left: 30px;">"WHO could have imagined that ''Little Shop of Horrors,'' the 1960 comic horror film shot by Roger Corman in two days' time, would continue to grow bigger, mightier and more formidable, much like the man-eating plant that is its unsung star? …  Mr. Martin's solo number has been hilariously staged, as he combines Elvis Presley posturing with a wonderfully wicked delivery of phrases like ''root canal.'' Seldom has one single film sequence, in which Mr. Martin gleefully terrifies his patients and brandishes the most ghastly array of instruments, done as much to set back the integrity of an entire profession."</p>
<h2 class="p1"><strong><strong>"Fatal Attraction" (1987)</strong></strong></h2>
<p class="p1"><strong><strong><div class="KonaFilter image-container"><div class="image on-image"><p class="source">Paramount</p></div><p></p></div></strong></strong></p>
<p class="p1"><strong>Remake of:</strong> British television movie "Diversion"<br /><span style="line-height: 1.5em;"><strong>Rotten Tomatoes:</strong> </span><a href="http://www.rottentomatoes.com/m/1007141-fatal_attraction/" target="_blank">78%<br /></a><strong>Metacritic:</strong> <a href="http://www.metacritic.com/movie/fatal-attraction" target="_blank">67</a><a href="http://www.rottentomatoes.com/m/1007141-fatal_attraction/" target="_blank"></a></p>
<p class="p1">Technically, we're still going to count this one since it's probably not well known that this was an adaptation of a TV movie.</p>
<p class="p1">Fun fact: "Diversion" writer and director James Dearden actually wrote the screenplay for the Hollywood film adaptation. The movie went on to become the <a href="http://boxofficemojo.com/movies/?id=fatalattraction.htm" target="_blank">highest-grossing film of the year worldwide</a> and received six Oscar nominations including Best Picture, Best Actress, and Best Director.</p>
<h2 class="p1"><strong>"True Lies" (1994)</strong></h2>
<p class="p1"><strong><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source">Fox</p></div><p></p></div></div><br /></strong></p>
<p class="p1"><span style="line-height: 1.5em;"><strong>Remake of:</strong> French film "<a href="http://www.imdb.com/title/tt0103103/" target="_blank">La Totale!</a>" (1991)<br /><span><strong>Rotten Tomatoes:</strong> </span><a href="http://www.rottentomatoes.com/m/true_lies/" target="_blank">72% </a> / n/a</span></p>
<p class="p1">We'll admit, we've never seen the French film from Claude Zidi; however, you can't beat a James Cameron film starring <keyword id="22324" type="PERSON" weightage="60" keywordseo="Arnold-Schwarzenegger">Arnold Schwarzenegger</keyword> secretly working as a government agent while his wife (Jamie Curtis) believes he's a computer salesman.</p>
<p class="p1">The film received an Oscar nod for Best Visual Effects. <span style="line-height: 1.5em;">At the time, the film was one of the most expensive ever made (an estimated <a href="http://boxofficemojo.com/movies/?id=truelies.htm" target="_blank">$115 million</a>)</span></p>
<h2><strong>"Ocean's Eleven" (2001)</strong><strong style="line-height: 1.5em;"> </strong></h2>
<p class="p1"><strong><span><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source">Warner Bros. </p></div><p></p></div></div></span></strong></p>
<p class="p1"><strong><span>Remake of: </span></strong>"<a href="http://www.imdb.com/title/tt0054135/?ref_=nv_sr_4" target="_blank">Ocean's Eleven</a>" (1960)<strong><span><br />Rotten Tomatoes: </span></strong><a href="http://www.rottentomatoes.com/m/oceans_eleven/" target="_blank">82%</a> / <a href="http://www.rottentomatoes.com/m/1015373-oceans_eleven/" target="_blank">46%</a> </p>
<p class="p1">The Rat Pack may have starred in the original, but it was George Clooney, Matt Damon, Brad Pitt, who made robbing a Las Vegas casino look awesome while also infuriating Al Pacino.</p>
<p class="p1">Rolling Stone critic <a href="What%20is%20Oscar-winning%20director%20Steven%20Soderbergh%20doing%20remaking%20a%201960%20Rat%20Pack%20flick%20best%20remembered%20for%20Frank%20Sinatra's%20orange%20sweaters%20and%20Dean%20Martin%20being%20Dino?%20Answer:%20having%20a%20ball." target="_blank">Peter Travers</a>: </p>
<p class="p1" style="padding-left: 30px;"><span>"What is Oscar-winning director Steven Soderbergh doing remaking a 1960 Rat Pack flick best remembered for Frank Sinatra's orange sweaters and Dean Martin being Dino? Answer: having a ball ... </span><span>Forget Oscar, Ocean's Eleven is the coolest damned thing around." </span></p>
<h2 class="p1"><strong><span><span><strong>"The Departed" (2006)</strong></span></span></strong></h2>
<p class="p1"><strong><span><span><strong><strong><div class="KonaFilter image-container"><div class="image on-image"><p class="source"><a href="http://www.youtube.com/watch?v=SGWvwjZ0eDc">Departed trailer</a></p></div><p></p></div></strong></strong></span></span></strong></p>
<p class="p1"><strong>Remake of:</strong> "<a href="http://www.imdb.com/title/tt0338564/?ref_=nv_sr_1" target="_blank">Infernal Affairs</a>" (2002)<br /><strong>Rotten Tomatoes: </strong><a href="http://www.rottentomatoes.com/m/departed/">92%</a> / <a href="http://www.rottentomatoes.com/m/internal_affairs/">95%<br /></a><strong>Metacritic</strong>: <a href="http://www.rottentomatoes.com/m/internal_affairs/"><span></span></a><a href="http://www.metacritic.com/movie/the-departed">86</a><a href="http://www.rottentomatoes.com/m/internal_affairs/"><span> / </span></a><a href="http://www.metacritic.com/movie/infernal-affairs">75</a><a href="http://www.rottentomatoes.com/m/internal_affairs/"> </a></p>
<p class="p1">Another phenemenal casting list comprised of Jack Nicholson, Matt Damon, Leonardo DiCaprio, Mark Wahlberg, Martin Sheen, Vera Farmiga, and Alec Baldwin <span>about an undercover cop (DiCaprio) </span><span style="line-height: 1.5em;">trying to discover a mole (Damon) in the Massachusetts State Police force.</span></p>
<p class="p1"><span style="line-height: 1.5em;">The film won four Oscars including Best Picture of the Year and Best Director. </span></p>
<p class="p1"><span style="line-height: 1.5em;">Roger Ebert <a href="http://www.rogerebert.com/reviews/the-departed-2007" target="_blank">gave the film four stars</a> highlighting the positives of both films, while not discrediting either.</span></p>
<p class="p1" style="padding-left: 30px;"><span style="line-height: 1.5em;"><span>"The story is inspired by "</span><a href="http://www.rogerebert.com/reviews/infernal-affairs-2004">Infernal Affairs</a><span>" (2002) by </span><a href="http://www.rogerebert.com/cast-and-crew/alan-mak">Alan Mak</a><span> and </span><a href="http://www.rogerebert.com/cast-and-crew/andrew-lau">Andrew Lau</a><span>, the most successful Hong Kong film of recent years. Indeed, having just re-read my 2004 review of that film, I find I could change the names, cut and paste it, and be discussing this film. But that would only involve the surface, the plot and a few philosophical quasi-profundities. What makes this a Scorsese film, and not merely a retread, is the director's use of actors, locations and energy, and its buried theme."</span></span></p>
<h2 class="p1"><strong>"True Grit" (2010)</strong></h2>
<p class="p1"><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><a href="http://www.youtube.com/watch?v=CUiCu-zuAgM">Paramount / True Grit trailer </a></p></div><p></p></div></div></p>
<p class="p1"><strong>Remake of:</strong> "<a href="http://www.imdb.com/title/tt0065126/" target="_blank">True Grit</a>" (1969)<br /><strong><span style="line-height: 1.5em;">Rotten Tomatoes: </span></strong><a href="http://www.rottentomatoes.com/m/true-grit-2010/">96%</a><span style="line-height: 1.5em;"> / </span><a href="http://www.rottentomatoes.com/m/true_grit/">90%<br /></a><strong>M<a href="http://www.rottentomatoes.com/m/true_grit/"></a>etacritc: </strong><a href="http://www.metacritic.com/movie/true-grit" target="_blank">80</a></p>
<p class="p1">Though John Wayne made the original film a classic and <a href="http://www.imdb.com/title/tt0065126/?ref_=nv_sr_2" target="_blank">earned an Oscar for his performance</a>, the update from the Coen brothers starring Jeff Bridges as U.S. Marshal Rooster Cogburn along with Matt Damon and Josh Brolin was celebrated by <a href="http://www.rottentomatoes.com/m/true-grit-2010/" target="_blank">critics</a> and moviegoers not only for sticking closer to the source material, but also all of the actors' performances.</p>
<p class="p1">However, despite <a href="http://www.imdb.com/title/tt1403865/?ref_=nv_sr_1" target="_blank">10 Oscar nominations</a> - including Best Picture, Director, and Actor - it won none.</p>
<p class="p1">The Denver Post's <a href="http://www.denverpost.com/movies/ci_16905967" target="_blank">Lisa Kennedy</a>:</p>
<p style="padding-left: 30px;">"This 'True Grit' makes the original almost unwatchable except as a curio ... <span style="line-height: 1.5em;">In the new version, Portis' novel is returned to its proper locale: the post-Civil War frontier where the James brothers raised such a nasty ruckus."</span></p>
<p><span style="line-height: 1.5em;"><a href="http://www.rogerebert.com/reviews/true-grit-2010" target="_blank">Ebert</a>:</span></p>
<p class="p1" style="padding-left: 30px;">"In the Coen Brothers' "True Grit," <a href="http://www.rogerebert.com/cast-and-crew/jeff-bridges"><span class="s1">Jeff Bridges</span></a> is not playing the <a href="http://www.rogerebert.com/cast-and-crew/john-wayne"><span class="s1">John Wayne</span></a> role. He's playing the Jeff Bridges role - or, more properly, the role created in the enduring novel by <a href="http://www.rogerebert.com/cast-and-crew/charles-portis"><span class="s1">Charles Portis</span></a>, much of whose original dialogue can be heard in this film. Bridges doesn't have the archetypal stature of the Duke. Few ever have. But he has here, I believe, an equal screen presence. We always knew we were looking at John Wayne in the original "<a href="http://www.rogerebert.com/reviews/true-grit-1969"><span class="s1">True Grit</span></a>" (1969). When we see Rooster Cogburn in this version, we're not thinking about Jeff Bridges. … Bridges' interpretation is no doubt closer to the reality of a lawman in those years of the West."</p>
<p class="p1"><em>*Denotes critical reviews for the remake and original, respectively when applicable.<br /></em><em style="line-height: 1.5em;"><em>**Audience score</em></em></p>

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