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Last time we took a look at the Bargain, today we talk to Pedro about his new movie.

Who?

Return to Dead Island will be released by AmyLand Studios. The film is produced by Baseball Mogul Productions. Quantum did the poster. Everyone is cast in the film, including returning actors, Nicholas Lea as Dirk Connors, Jessica Chastain as Julia Rivers, Emily Deschanel as Mandy Reborn and Charlize Theron as Helen Sands. Cobie Smulders joins the cast as another survivor, Sami Menters. Lake Bell also joins as Nina White, the wife of Roger White, who was the villain in the last movie. TJ Miller and Aaron Staton are also in the cast.

What?

The story finds the four main survivors of the last film, heading to a different part of the island in a helicopter. There is a GPS location on the helicopter which brings them there. On the island, they discover Nina White, more survivors and more terror.

Where?

The film is shot on a stage, but it is set on a different part of the island where the last film was. There are jungles, fields and a rundown building on this island, which leads to some terror for the group.

When?

It’s set right now. It has just completed shooting and editing maybe a week ago and is now ready for release.

Why?

I’m making this film to continue the plot of the next film. The characters have some tough decisions to make in this one. Helen and Sami clash quite a bit in this film. Helen is sort of a villain character too as she has done some questionable things in the past and is now trying to atone for them. The group is also trying to struggle to see which one will lead them. Dirk is determined to be the leader, Helen and Julia also wish to lead the group.

How?

This film all came together before the last film ended, when I knew I wanted to make this one. I needed to find other survivors, so I cast them and I knew Nina White would be involved. Other than that, I developed most of the plot right before writing and some things I changed around while writing as well. I’d have to say something happens in the first five pages that I wasn’t expecting to do until I wrote it.

Return to Dead Island hits theaters on Friday February 8th, 2013.


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Tomorrow, an all new horror movie by a former Yoda winning Best Producer is coming out in theaters. We asked him the six most important questions that can be asked…

Who?

Bargain is a Lucian film being released by Lucian. It stars Tom Selleck (you’ll see why later) as the older husband of a young woman played by Anna Faris (you’ll see why later). Also appearing is a mysterious well dressed man (Christopher Plummer in his second Lucian film).

What?

The husband, who is never named, wakes his wife with breakfast in bed. But it’s not just a kind gesture. He has some bad news to break and it involves a bargain he made just after they met.

Where?

The entire short takes place in the bedroom, a set we constructed on stage.

When?

This is very much an “eternal present” film.

Why?

I wrote this piece as I searched for a new tale of modern horror for publication. Although currently very short I hope to expand it after I get a first round of reviews.

How?

For years I have been sitting on a “Tommy Can You Hear Me?” award which allows for a free film based on a Who song. One night, not that long ago, I went searching through The Who’s vast repertoire until I found a song called “Bargain” which was new to me. The song is about doing anything for the grace of Jesus but I wondered if it could be twisted in another way. From there the idea came to me and it was a quickly written story. Searching my other awards I found an “Anna Faris is Tough” award that thrust her into the role of the younger, devoted wife. A Christopher Plummer talent voucher filled the role of the well dressed man and another allowed Clive Barker to direct for free. Making my own poster and website meant the entire film was free, since I saw no reason to spend any extra money on ad budget than the 40 million my filmography and items allow me. While this may seem like a quick and cheap film it actually matters to me since I want to expand and sell it. So I’m pushing for as many reviews as possible and will reward everyone who provides one with an HTG-Ray (if they have a player) or some other item.

Bargain hits theaters tomorrow, February 1st, 2013.


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The HTG TV landscape has received a total revamp… okay, maybe I am a bit over with my wording but there are some big changes announced in CzarTim’s podcast and also the written version available right here. With every change, there will be pros and cons but mainly it’s just me trying to plug some views on the changes, so here we go:

Re-run/Syndication removal

Pro:

  • In my opinion, the only thing they provide is a bit of realism to the TV world. However, I do feel that it is not needed not because I feel they are useless but with so much new contents out at a time, it’s very rare for one to check out on the re-run and syndication. Even some new shows have problem getting readers, definitely much harder for the re-run/syndication to get reader.
  • Less things to decide and do for network heads
  • Simplified TV structure, cleaner TV show list page

Con:

  • Not much aside from a little decrease of realism. I would go for “fun > realism” because it’s a simulation game and it’s ultimately a game, fun is the main priority after all. I could do without that bit of realism.
  • Less income for network head and producers.

3 sessions per year

Pro:

  • For the dedicated writers that just love to write for TV, there’s more episodes per year you can do, up from 12 max episodes per year to 18 max episodes per year.
  • For readers that love TV, more to read. The more the merrier, no doubt in this case. If you don’t read TV, it ain’t going to affect you in any way so it’s no con either.
  • Increased profit for network head and writers as there’s more show time per year to put content in.

Con:

  • Eh… none that I can think of.

4 slots per network, not time-based but show-based

Pro:

  • Freedom on page number. Screw 30 minute/60 minute thing, now the producers are free to write how short/how long they want to, it provides good freedom on show length.
  • Fairer (arguably). Some shows might find it easier to survive because a good show can only occupy at most one slot, they can’t juggernaut and bully two slots at once. It will also provide an accurate reading to the show’s rating as sometime I find a two-slot show can have some weird ratings over the session.
  • Guaranteed 12 shows per week. Network heads can’t make some shows 60 minutes just to fill slots so they really need to get shows now, it’s the only way to prevent an empty slot. Good for audience as they will be getting a solid amount of content per TV week. Might be a little trouble to the network head but the pro outweighs the con, hence I am putting it here.
  • Personal pro, now I can do IC reviews without trying to make sure the show length make sense, which is tough when a show is 25 pages running on an hour.

Neutral:

  • While this change’s initial intention is to make sure each show can shine, I am not sure if it can work out that way. Let’s look at cinema, there are 1 or 2 new movies out per week on average, that’s a big spotlight for both of them on that week but do they all get the attention? I highly doubt so. Some films are largely “ignored” anyway and I don’t think this is one thing that could be solved by any adjustment on the mechanism side. My advice to the TV producer (apply to movie producer too, I think) is to push your product. Nothing shows you care about your show more than constant advertisements or just anything that display your dedication and passion. Even huge shows like It’s Always Me (Marlowe) and TCW (Lucian) put ads up while they probably need it less than others(especially new shows). My point is, show amount really isn’t the sole problem some shows are not popular among readers, the producers have to do their job too. The admin team can only do so much to level the playground.

Con:

  • Cut-throat business. With less slots per sessions, it’s a much tougher games out there for the producers the shows have to fight harder between themselves to stay out of the bottom zone of each session. The “survivor” zone is arguably lower in range so more danger to to the mid-low shows.
  • Lesser free spots. You can argue that there’s 3 sessions per year now so there could be more new shows but unless some of the top shows are resting in one session, it’s not easy to secure a free slot. Even lesser mercy on failing shows and so forth will really make HTG TV 2013 a much crueler battleground and I like that…but it’s still a con, generally speaking.

1 week of mid-season break

Pro:

  • Shorter TV session, perhaps more attention on the movie industry. To use CzarTim’s word, he doesn’t want the TV to drag on for so long so 1 week of mid-season break and the TV runs on a weekly basis. No more 2 real life weeks per TV week, it’s 1-to-1 now.
  • Realism. 1:1 real life week to TV week ratio, that’s definitely more realistic.

Con:

  • For the “right now” writer, less time to work on episodes. This can be stressful on the writers since they only have 7 days to plan/write/adjust/edit their next episode. “I-write-early” writer will have not much of a problem aside from less time to do some emergency edit and probably less time to advertise the next episode.
  • For the network heads, time issue too, they have less time to plan things, get script and so on. More chance of mistakes probably.
  • Personal con, I don’t think this is a good idea(for now) as it gives less time for people to read shows. With the 3×4 setting, one of the main points is to give every show a chance to shine but the readers have less time than the 2×6 setup that we have now. To plug in some simple maths, 3×4 = 12 shows per week, 3×6 = 18 shows per 2 weeks = 9 shows per week. That’s an extra 3 shows per week to read if one is going to read all. Well, I don’t think “read all” is on a lot of player’s bucket list, it’s still arguably less time to read shows based on the math.

Revamped Show TS Bonus

Pro:

  • Every show gets bigger cast eventually, especially good for the lower-rated shows that just can’t break into the top half of the sessions.
  • Higher TS limit gives more freedom in terms of casting choice. There are also chances that more talents will get work because of that, which is good as I love to see more talents out there.
  • More flexibility of TS gain. Last time, it’s a fixed 5, 3 and 2; now, it’s various numbers made up by numbers divisible by 0.15.

Neutral:

  • Timeslot comparison might seem fairer to the shows but I find the old method of comparing every TV shows out there to be more realistic as in it reflects real life more so. However, I think from a game viewpoint, timeslot battle does seem fairer to the players, so I guess it has a fair share of pro and con either way. Another argument is that TS reward per week rather than once per season judging by the average is that the average rating of a show in that entire session is a much more accurate indication than a per-week measurement which can be done by “one hit wonder” on occassion. However, it is still a fair 50:50 in terms of pro and con. I can see both methods working well in a long run.

Con:

  • Too linear, everyone can get it thus making TS bonus look less impressive. Last time, a high TS number indicates the show’s prestige and is also a “trophy” for popularity while now a so-so show can reach a high level of prestige as long as they stay on air for a long time.
  • Shows might eventually get so huge of a TS limit that they are constantly out-TSing movie, which I find a tad unrealistic since movie is supposed to be the big deal in terms of star power.
  • Less maximum gain per season which I liked because of the massive TS reason but generally speaking, I guess it’s a con for the bigger shows.
  • Personal con, less challenging in terms of cast selection. To me, it’s less fun; to some others, maybe it’s a good news since they can use who they really want.

Capping TS Effect on Rating

Pro:

  • New shows has a slightly fairer playground, which is good because there’s always a bunch of new shows coming out and every new producer has to start somewhere.

Con:

  • Not much, you can argue that the long-term shows deserve that advantage but when it is too much, they are just killing the newer shows by game mechanism, which is bad. Also, the long-term shows can probably do well even without their over 9000 TS anyway.

Revamped Sully structure

Pro:

  • Serious business, more credential to the winner. The current structure is that we will have 2 noms per session and 1 Sully per year. Only the elites are getting in and there’s no doubt that the winner is arguably the top of the tops.
  • Less work to find a Sully host and do award update.

Con:

  • Less Sully? Tougher to get nom might be the only problem I can see but at least when you win one(or get a nom), you will be extra happy.

Simple math says 18 pros and 12 cons which is very good but it’s all just prediction and estimation. Only time will tell if this revamp really helps. It is likely to provide new challenges and obstacles for the network heads and writers alike, which is a kind of fun. Personally, I am already anticipating the next TV session but for now, the cinema will do me well. So, Happy New Year, see you next time and be happy… why am I talking like I am ending a TV show? Meh… whatever.


Last month, Bulletproof Avatar Pictures and Lightning Productions put out the action flick Thomas Jones: No Good About Goodbye starring Idris Elba, Tom Wilkinson, Cobie Smulders, and Timothy Dalton. You have seen the movie, now listen to its tunes…

NO GOOD ABOUT GOODBYE  OFFICIAL SOUNDTRACK

  1. “No Good About Goodbye” by Shirley Bassey
  2. “Nothing Sinister” by David Arnold
  3. “Time to Get Out” by David Arnold
  4. “Bike Chase” by David Arnold
  5. “Hamburg Break-in” by David Arnold
  6. “African Rundown” by David Arnold
  7. “Somebody Wants to Kill You” by David Arnold
  8. “Target Terminated” by David Arnold

The soundtrack was originally featured on The Lucky Dragon NewsCorp. Do you dig the music? Will it be one of the soundtracks that you nominate for a Golden Yoda for the next HTG Awards?


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It’s a brand new year, and January typically isn’t a very productive month for movie. More of a cool down month sort of thing but still, there might be some hidden gems in this month. Let’s check them out.

January 4, 1st week of January
Already in theater now will be the first movie of 2013 and its name suits the occasion very well. The Greatest HTG Movie Ever Sold is a tribute to Morgan Spurlock’s The Greatest Movie Ever Sold. That film has the entire budget covered by product placement and Lucian (Ship of Fooles) is attempting the same in an HTG way, with awards, talent vouchers, cars and ad budget items. Even better, Lucian is able to not breakeven but even earn a ton of money before the box office comes rolling in. Check this out to see how he pull it off.

January 11, 2nd week of January
Drugged 3 continues the franchise’s legacy in year 2013. This time, the film focuses on Connor Cannon (Mitchell Musso) right after he shot someone at school. Thanks to the drug, he is in the same situation as the protagonists in Hangover and that is he has no memory of what he has done. The film focuses on the aftermath of the shooting, mainly on the consequences of things.

January 18, 3rd week of January
Blacksmith Pictures returns to business with its tenth feature, their first since 2008’s The Murder Castle. Influenced by movie like Die Hard and The Raid: Redemption, Lockdown is a fast paced action thriller that set in an isolated island in Bahamas. Alan Whiteshade (Brian Cox) and his bodyguard Jake (Jensen Ackles) are there for the grand opening of Neptune Casino, Whiteshade’s newest enterprise. Whiteshade has always been a shady businessman and the price of that is someone else would want your head. The casino is attacked by a group of terrorists, led by Koval (Karl Urban), targeting Whiteshade primarily, creating a lockdown inside the casino. Unbeknownst to the terrorist group is that another team of assassins are inside the casino as well. Whiteshade is missing, wanted by two groups, and the only hope he has is Jake and his daughter (Mila Kunis).

S***Ball is up to challenge the returning Blacksmith Pictures. An animated comedy, the movie sets inside a college full of monkies and is about to be bulldozed to the ground. Money seems to be the only option to save the school and so the bunch of monkeys decided to host a charity baseball game… with their s*** being the baseball.

January 25, 4th week of January
Three movies announced for this week, but I only have info on one. Lexx is the movie reboot of a cult classic TV series of the same name. It focusies on a janitor (Jon Bon Jovi) that is captured by the captain of the most powerful weapon (which I assume is also a ship) in the galaxy. The cast include Richard Dean Anderson as Captain Darnok, Megan Fox as Zev, Anton Yelchin as Kai and the voices of Ian Ziering and Patrick Warburton as 790 and the Lexx respectively.


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