Author: Joseph Aberl

  • ‘The Last of Us’ Season 2 is Already Mapped Out

    ‘The Last of Us’ Season 2 is Already Mapped Out

    Neil Druckmann is the mind behind The Last of Us and had a major role in bringing the HBO live-action adaptation to life. So, if anyone knows where they currently stand with the project. Showrunner Craig Mazin has hinted that he already dropped off the first episode’s script before the strike started.

    In a new interview, Druckmann offered another update on the series where he confirmed that they have “outlined all of Season 2” and that once the strike ends, they can pretty much jump straight into production for the continuation that’ll very likely adapt elements from the second game in the series.

    We’ve outlined all of Season 2 and we’re ready to go as soon as the strike ends. As far as the next game at Naughty Dog, I can’t say anything. My comms director over there will slaughter me.

    Neil Druckmann

    There have been hints that they may have also been busy casting while preparing for the second season, but nothing was confirmed until now. The big question that remains for every production at the moment lies in studios paying their writers and actors fairly moving forward.

    Source: Variety

  • Den Den Murphy 33 – Ahead of ‘One Piece’ Live-Action’s Release

    Den Den Murphy 33 – Ahead of ‘One Piece’ Live-Action’s Release

    With only a few more days to go, Suki and Joe risked having the episode out before the live-action Netflix series releases by sharing the latest news and their hopes for the show, the latest news, and getting ready for a lot more One Piece.

  • Marvel Studios’ Reshuffles its Disney+ Release Slate as ‘Agatha’ Gets a New Name

    Marvel Studios’ Reshuffles its Disney+ Release Slate as ‘Agatha’ Gets a New Name

    Marvel Studios has been shifting quite a few of its release dates as of late. While they certainly are going to for all projects that have yet to finish, it seems they also decided to map out some of their TV shows that were set to release on Diseny+ in the coming months. The biggest surprise is that Echo was pushed back (again) to a January release date even though it was previously slated for November 29th.

    What If…? is going to be released on Christmas Day, which is our first confirmation as it was initially going to be released in 2023. So, it’ll be the only other show releasing this year besides Loki later in October, which is already being heavily advertised by Marvel Studios. X-Men ’97 also seemingly is getting a release timing, as it is set for early 2024 after initially planned to release later this fall. Season 2 of the series is already in the works.

    Ironheart is off the schedule for now, as it seems it is affected by the strikes. The same goes for Daredevil: Born Again and Wonder Man, which had to pause in the middle of production. The big surprise is that Agatha: Coven of Chaos is getting another new name, this time Agatha: Darkhold Diaries. It initially was announced with the title Agatha: House of Harknes and is now set to release on Halloween next year.

    Source: The Hollywood Reporter

  • ‘One Piece’ Production Designer on Why They Changed Going Merry’s Figurehead

    ‘One Piece’ Production Designer on Why They Changed Going Merry’s Figurehead

    Production designer Richard Bridgland got a chance to share what it was like bringing the iconic manga One Piece to live-action. Given just how iconic many locations and visuals have become over the years, it was a daunting task for anyone to tackle.

    It seems that the production team wanted to ensure that while they kept the fantastical elements from the original manga, their main goal was still to ensure that the One Piece series was kept as realistic as possible. As such, it led to a few changes that needed to happen one of them being the way the figureheads looed for the various ships.

    It’s interesting, with all the figureheads of the ships, I couldn’t just copy them straight out of the manga and make them in real life, they would look kind of goofy. I had to create a credible real-life version of them. So, what was apparent to me from going into the manga was that all of these figureheads were actually kind of symbols for the spirit of that character.

    Richard Bridgland

    There have been some jokes online about the Going Merry ship looking a bit creepy with the goat face screaming based on some behind-the-scenes images. Yet, once the poster was released the way they brought the figurehead into live-action highlights the “merry” part of Going Merry. So, it’ll be quite exciting to see the other ships brought to life.

    Source: Collider

  • Netflix’s ‘One Piece’ Composers Wanted to Showcase Series Diversity in its Music

    Netflix’s ‘One Piece’ Composers Wanted to Showcase Series Diversity in its Music

    One highlight throughout the promotion for Netflix’s live-action One Piece was the energy that composers Sonya Belousova and Giona Ostinelli brought to the table. As it turns out, they actually wanted to work on the show when it was announced and as they were fans, gave it their all to join the project by creating an entire concept on the “One Piece music universe” that consisted of “different themes and instruments we would assign to each one of our characters.”

    I think it was December 2021. I think you’re right. So it was so long ago by now, and that video got everybody really excited. And from there on, we were immediately on board. But funnily enough, all those concepts that we outlined in that video and the themes that we came up with, because we actually even wrote specific themes for the video and performed that theme on different instruments, representing our characters, all those concepts, now that we are done with the soundtrack, it’s about to come out. They all remained 100% true in the final product

    Sonya Belousova

    Luckily, their work paid off and they got the chance to create the iconic score based on one of the biggest mangas out there. Their biggest mission was to ensure that the music in the live-action also reflected the diversity of the series. The world of One Piece even just in the East Blue consists of different types of islands that bring something different to the table.

    The score for the live-action universe is very diverse stylistically because the whole universe is so diverse and our straw heads are so diverse within their roots and backgrounds and also their diverse and unique personalities and fighting styles and skill sets. So the whole concept of diversity was really something that was very paramount to us when building this music universe, and the score ranges stylistically from epic swashbuckling orchestra to songs featuring incredible artists such as Norwegian art-pop sensation Aurora, to hip hop featuring an amazing artist, Flawless Real Talk to rap to folk to big band jazz funk fusion.

    Sonya Belousova

    We got a few glimpses of the music, such as Luffy and Gold Roger’s theme. There was also the theme for Nami that was also sung by Norwegian pop star Aurora; adding quite the star power to one of the most important arcs in the first season. So, it’ll be exciting to see all the diversity they are teasing from the entire series that we’ll be able to witness as it releases on Netflix tomorrow.

    Source: What’s on Netflix

  • ‘One Piece’: Netflix Head Can’t Promise a Season 2 Yet

    ‘One Piece’: Netflix Head Can’t Promise a Season 2 Yet

    One Piece’s promotion so far has probably been the biggest we’ve seen from the streaming service. They are going all out with fan events, tie-in merchandise, and so much more. It truly feels like they believe this has the potential to be on par with their other projects like Stranger Things.

    Sadly, it seems that Netflix’s head of US and Canada scripted series, Peter Friedlander, can’t promise an early renewal for the series just yet like they did with The Witcher (though nothing got that treatment since then) but believe their track record with other IP-based adaptations will prove there’s a good chance for this adaptation to do the same.

    You can’t get it right every time. You hope that with creative passion and storytellers that you do. And that’s what I’m here for, is to support the storytellers and how they interpret and adapt and experience an IP. And I think we’ve had a pretty impressive run when you think about just within the last year with ‘The Sandman’ and ‘Wednesday.’ And I do think we are able to adapt some of these IP into something that’s extraordinary and unexpected, and still truly honor what it is.

    Peter Friedlander

    It truly is a shame they haven’t renewed it yet given how big the fan reception has been, and the way they are handling it does hint that they believe it’ll be a success. Unlike Cowboy Bebop, they aren’t rushing it out to the streaming service without much fanfare. We’ll see if perhaps the promotion of this first season also shows them the importance of actually promoting their shows as well as future seasons.

    Source: Variety

  • Netflix Head was “Stunned” by Reactions to Live-Action ‘One Piece’ Series

    Netflix Head was “Stunned” by Reactions to Live-Action ‘One Piece’ Series

    If there was one thing that makes One Piece stand out has always been the way it became one of the biggest-selling mangas in the world. The series missed its opportunity to establish itself in the States but ended up becoming a major franchise in Japan, France, Brazil, and a variety of other markets.

    Netflix Head of U.S. and Canada Scripted Series, Peter Friedlander, shared that they were “all stunned, truly stunned” at just how big the reception was when it was first unveiled at their TUDUM event. It definitely was an emotional moment for the cast that made their big debut.

    I think we were all stunned, truly stunned. We knew that there was a big fan base, but to watch those actors step out onstage, you could barely hear anything. They could barely get words out, and it was really an emotional experience just watching the actors.

    Peter Friedlander

    They also were excited to see the early reception to the series going by how viewers reacted to the teaser and trailer. The initial look did have some people a bit optimistically nervous but reactions continued to get more positive as time went on.

    It’s heartening to see the early reaction just to what we’ve shown. With the teaser and trailer, we’ve put out, we were trying to show the fans we’re loving on this IP, we are loving on this show and we hope you see that. I feel very hopeful and confident going into this.

    Peter Friedlander

    Netflix is certainly all-in with this adaptation given just how much merchandise they are already preparing to release by the time the series releases. They know what they have in their hands with the adaptation and its already massive built-in fan base. If the fan events are something to go by, there’s a lot of potential for this series to make a big bang for the streamer.

    Source: Variety

  • ‘One Piece’ Creator Was Stumped by One Question from Live-Action Team

    ‘One Piece’ Creator Was Stumped by One Question from Live-Action Team

    Richard Bridgland was given quite the challenging task of bringing the iconic world of Eiichiro Oda’s One Piece to life. There are quite a few questions that could change the way they tackle the world-building that Oda is famous for and it seems that one question managed to surprise even the creator of this series.

    In an interview by Collider’s Mike Thomas, Bridgland revealed that they managed to stump Oda with a simple question and that was if “there was electricity in the world.” What seems like a simple question would’ve defined the set design for their adaptation but it seems that Oda never gave that aspect a thought.

    I remember one of the big things was about whether there was electricity in the world. It was really interesting because I needed to have electricity in the world for lighting because otherwise everything was gonna be candlelight and fire and everything, and it was gonna be so it could get very one note like that. And it was interesting because he came back, and he said, “That’s such a good question.” He’d never really thought of it in such a bold way.

    Richard Bridgland

    He was also asked if they may have included a power system that wouldn’t become relevant until much later. Yet, it seems that Oda didn’t want to spoil that quite yet and keep it for later, as it is more a defining trait of a major character and simply stated: “Look, don’t use the cola power. That’s something that appears later in the story arc, but let’s say, yes, there’s electricity.” So, it seems that we will have to wait a bit until we get to witness One Piece’s true power system.

    Source: Collider

  • ‘One Piece Director on How They Found Their Buggy

    ‘One Piece Director on How They Found Their Buggy

    Buggy might be one of the more challenging adaptations in One Piece’s first season. While it’s not easy making the Fishpeople look realistic in live-action, it’s something different when you have to convince the world that this pirate world also includes a guy who just casually runs around dressed as a clown with a realistic giant red nose. In a way, Agents of SHIELD alum Jeff Ward is the perfect choice to play the character.

    In an interview with Collider, director Marc Jobst shared how they found the perfect Buggy and it turns out Ward just showed up in make-up and made sure that he left a memorable performance. Even early trailers, Ward’s Buggy was a standout for many even when there was some concern early on with the first teaser, but the director highlighted that he “grabbed you by the throat” which sold them on his role.

    When Jeff Ward auditioned for us, he was wearing makeup, and he leapt out of the screen in his audition and grabbed you by the throat, so we knew we had our Buggy.

    Marc Jobst

    The director also goes on to highlight that the biggest challenge for him as a director was definitely trying to film in a giant tent. However, it seems their decision to add Jeff Ward as Buggy pushed the sequence to new heights, especially in how the interactions of Inaki Godoy’s Luffy and Buggy kept elevating the sequence going by his interview.

    When we stepped onto the set, and we shot with him on his day one, it’s this enormous huge tent. It’s just a vast set all made out of old canvas sails, and everything, stitched together. We must have had, I don’t know, three, 400 extras in that, and it only just took up about half of the tent, it’s huge. Jeff walked onto that stage, and he roared, and it was beautiful. He owned that stage, and he owned that floor, and it was like, ‘Wow! Now let’s see how Luffy reacts.’ And of course, what was great is that Jeff sort of devoured his words and owned that space, which also made Luffy work harder. So you had this magical thing of Luffy, who’s saying this is fun, and Buggy saying, ‘I’m gonna eat you up,’ and that makes it really electric. And the fact that Luffy wasn’t scared by Buggy’s biting and roaring, and all the rest of it, just made Buggy more angry, which then becomes really dramatic

    Marc Jobst

    It definitely makes you excited to see the clown pirate in action and raises the question if we’ll get more sequences of him. Buggy is a major character in the franchise with somewhat of a recurring role. It would be a shame not to make good use of Ward’s performance and depending on where they wrap up the first season they may still be keeping him for the second season potentially if it gets renewed.

    Source: Collider

  • Netflix’s ‘One Piece’ Team Made Sure Manga’s Creator was Happy with the Series

    Netflix’s ‘One Piece’ Team Made Sure Manga’s Creator was Happy with the Series

    There are only a few more days to go until Netflix’s next big venture and potentially last chance of proving they have what it takes to adapt anime and manga to live-action. Tomorrow Studios is back after their mixed results with Cowboy Bebop. The strong marketing push and overall positive reactions hint at a potentially promising future.

    In an interview with director Emma Sullivan, she offered some insight into her process with the live-action adaptation of One Piece. The Doctor Who director was able to tackle some iconic storylines from Eiichiro Oda’s manga and further highlighted that a lot of their work on the project also focused on ensuring that Oda would be happy with how his iconic series turned out.

    It’s big because you really want to make the fans happy because it means so much to them. They’re so invested in these characters. Particularly with ‘One Piece,’ you know, 23 years this has accompanied them through their lives, so it’s really important that you give it the due respect. Obviously, the lucky thing for us is that we had [Eiichiro] Oda-san on site. We always have him to check with, and if he’s not happy, we’ll do it again.

    Emma Sullivan

    It’s definitely crazy to think that Oda had that much power that they would redo the entirety of the sequences to ensure his vision remains alive. Though we have hinted that he had asked for reshoots, this does put into place just how much creative control he had over the production. Especially that a director would also be open that they would redo sequences if he’s not happy shows how everyone was on board with this adaptation from the get-go.

    Source: Collider