Courtesy of Warner Brothers Online, check out this video interview with Ray Harryhausen, who discusses the changes he made to Medusa in order to make her work as a stop-motion character in CLASH OF THE TITANS (1981).
Here’s the second, more monster-filled trailer for WRATH OF THE TITANS, sequel to the CLASH OF THE TITANS remake/re-boot.
“A decade after his heroic defeat of the monstrous Kraken, Perseus—the demigod son of Zeus—is attempting to live a quieter life as a village fisherman and the sole parent to his 10-year old son, Helius.
Meanwhile, a struggle for supremacy rages between the gods and the Titans. Dangerously weakened by humanity’s lack of devotion, the gods are losing control of the imprisoned Titans and their ferocious leader, Kronos, father of the long-ruling brothers Zeus, Hades and Poseidon. The triumvirate had overthrown their powerful father long ago, leaving him to rot in the gloomy abyss of Tartarus, a dungeon that lies deep within the cavernous underworld.
Perseus cannot ignore his true calling when Hades, along with Zeus’ godly son Ares, switch loyalty and make a deal with Kronos to capture Zeus.
The Titans’ strength grows stronger as Zeus’ remaining godly powers are siphoned… “
Starring Sam Worthington, Liam Neeson, Rosamund Pike, and Ralph Fiennes.
Directed by Jonathan Liebesman from a screenplay by Dan Mazeau David Johnson, and Greg Berlanti.
Due out March 30th from Legendary Pictures, Thunder Road, and Warner Brothers Pictures.
According to Pajiba.com, Amblin’ Entertainment’s MEN IN BLACK III has cast Josh Brolin (JONAH HEX) as a young version of Tommy Lee Jones’ Agent Kay in the time-traveling sequel.
Will Smith and Jones are set to return in their roles in the Sci-Fi comedy, with Emma Thompson said to be playing their new, modern day boss. The site claims Alec Baldwin (THE SHADOW) is in talks to portray the Agency’s head in 1969.
Jermain Clement (FLIGHT OF THE CONCHORDS) is reportedly playing a character named Boris.
The article says Gemma Arterton (CLASH OF THE TITANS) is in negotiations to play a secretary in `69, and Sharlto Copley (DISTRICT 9) to enact a fast-taking alien.
Barry Sonnenfeld (THE ADDAMS FAMILY) returns as director, with a script by Etan Cohen (TROPIC THUNDER). Shooting is set to begin this November, with a May 25th, 2012 release planned by Columbia Pictures.
The MEN IN BLACK series is based on the comic book created by Lowell Cunninghan.
The transfer of the film onto Blu-ray is excellent, and the interactive exploration of the behind-the-scenes experience is more interesting than the film itself.
I will likely be pilloried for stating that I consider Ray Harryhausen’s version of CLASH OF THE TITANS to be one of his lesser films (down there with THREE WORLDS OF GULLIVER). I am not sure if his intention was to do a sequel to JASON AND THE ARGONAUTS or what, but at the beginning of a decade when effects went into hyperdrive, I found it a weak note on which to finish his career.
Needless to say I was less than enthusiastic when Warners announced they were doing a high-budget remake. I think my reaction at the time was “Why?” Fortunately, the new version has lots of redeeming qualities: a great cast, a thin but engaging story, state of the art special effects, and competent direction. Best of all is an economical running time during which the action just seems to rip along. I was also fortunate enough to see the new CLASH OF THE TITANS in 2D in the theater (not with the much-criticized post-production 3-D face-lift).
The transfer of the film onto Blu-ray is excellent as you would expect. The HD picture quality and surround sound are stunning, bringing the movie theater experience to the living room. Although the DVD version is a bare bones release with minimal extras (deleted scenes anyone?), the Blu-ray offers up a Maximum Movie Mode feature that allows us to explore the entire filmmaking process in one window while the film plays in an another. Instead of a simple narrated audio commentary, this format offers a truly interactive experience that I found more interesting than the film itself. We get to see CLASH OF THE TITANS as it evolves through the hands of the director Louis Leterrier (THE INCREDIBLE HULK), his art director and effects team, and finally the cast.
Watching the MMM version is worth it just for the scenes of Leterrier directing while dressed in a hooded green screen costume and acting the part of the Kraken. I was also impressed with the design of the film; the epic scale of the story is captured using large sets and panoramic scenery instead of just green screen and CGI.
As impressive as the MMM feature is it still does not answer some of the fundamental questions that CLASH OF THE TITANS raises, specifically why the humans had declared war on the gods in the first place.
Apparently, CLASH OF THE TITANS did so well at the box office that Warners is developing a sequel, though I can’t imagine where they will take the characters next (I suggest Hawaii and a surfing motif). However, it is good news for Sam Worthington (AVATAR, TERMINATOR: SALVATION), who now has three major franchises to keep him busy for the foreseeable future.
Tuesday, July 27 sees 20-something horror, fantasy, and science fiction titles released on DVD, Blu-ray, and/or Video on Demand, including two high-profile (if not necessarily high-quality) theatrical films and some classic/cult movies repackaged with collectible t-shirts (gotta find some excuse to keep re-issuing those public domain titles!). The 800,000 ton kraken this week is Warner Brothers’ release of CLASH OF THE TITANS, starring Sam Worthington. Fans have their choice of the VOD rental/purchase, a DVD, and a combo pack containing Blu-ray, DVD and a digital copy. Although not a critical favorite (in part because of an unsatisfactory 3-D face lift added in post-production), this remake is actually an improvement over the 1981 Ray Harryhausen original, with a good central idea, decent characterizations and performances, and updated special effects. Like the later JONAH HEX, CLASH OF THE TITANS went through extensive editorial revisions, including the shooting of additional footage. (In the original scenario, Zeus remains a villain throughout, and the lesser gods help Perseus to thwart his plans; the theatrical version gives Zeus a change of heart after he realizes he is being played by Hades.) The DVD bonus features include deleted scenes, which should give some idea of what was originally intended. The Blu-ray also includes the additional scenes, plus an alternate ending, in which Perseus confronts Zeus on Mount Olympus. Other Blu-ray bonus features:
- Sam Worthington: An Action Hero for the Ages: a featurette on the star
- Harnessing the Gods: Maximum Movie Mode: Sam Worthington, Liam Neeson, Ralph Fiennes and director Louis Leterrier offer scene breakdowns, VFX breakdowns, vignettes, and a look at locations, stunt work, and the Kraken, the Scorpiochs, Medusa.
- BD-Live enabled
Also arriving on Blu-ray, DVD, and VOD this week is REPO MAN, the rather dismal tale of futuristic collectors who retrieve artificial organs from recipients who cannot keep up with their payments. Bonus features on the DVD and Blu-ray disc include:
- DELETED SCENES with optional commentary with Director Miguel Sapochnik and Writers Eric Garcia and Garrett Lerner.
- UNION COMMERCIALS: See the unique Union commercials used in the film in their entirety.
- INSIDE THE VISUAL EFFECTS: Get an “insider’s” look at the unique visual effects used in the film.
- FEATURE COMMENTARY: Director Miguel Sapochnik and writers Eric Garcia and Garrett Lerner offer their insights into the film.
Bonus features exclusive to the Blu-ray disc include:
- BD-LIVE™: Access the BD-Live™ Center through your Internet-connected player to get even more content, watch the latest trailers and more!
- MY SCENES: Bookmark your favorite scenes from the movie.
- Pocket BLU™: USHE’s groundbreaking pocket BLU app uses iPhone™, iPod® touch, iPad™ BlackBerry®, Android™, PC, Mac and other devices to work seamlessly with a network-connected Blu-ray(TM) player and offers advanced features such as:
- Advanced Remote Control: A sleek, elegant new way to operate your Blu-ray™ player. Users can navigate through menus, playback and BD-Live™ functions with ease.
- Video Timeline: Users can easily bring up the video timeline, allowing them to instantly access any point in the movie.
- Mobile-To-Go: Users can unlock a selection of bonus content to enjoy on the go, anytime, anywhere.
- Browse Titles: Users will have access to a complete list of pocket BLU™-enabled titles available and coming to Blu-ray™ Hi-Def. They can view free previews and see what additional content is available to unlock on their device.
- Keyboard: Enter data into a Blu-ray player with your device’s easy and intuitive keyboard.
- Social BLU™: Connect with friends on your favorite social networks to share information about your favorite movies, enjoy Blu-ray™ community features and more!
- U-Control™: Universal’s exclusive feature that lets the viewer access bonus materials without leaving the movie!
The animated BATMAN: UNDER THE RED HOOD arrives in almost more iterations than you can count: VOD for rent and purchase, single-disc DVD, double-disc special edition DVD, and Blu-ray disc; the double-disc DVD and Blu-ray are also available (exclusive from Amazon.com) with a limited edition litho cel.
Fans of NIGHT OF THE LIVING DEAD may be interested in the new DVD of NIGHT OF THE LIVING DEAD: REANIMATED. This is a sort of artsy experiment, in which different animators were invited to recreate sequences of the 1968 horror film.
Kaiju fans may want to check out DEATH KAPPA, a new Japanese monster movie from th creators of TOKYO GORE POLICE. The story takes the Kappa (legendary Yokai monsters from Japanese folklore) and adds an atomic twist to create a modern monstrosity in the Godzilla mold. The film is available in DVD and Blu-ray from Tokyo Shock Cinema.
If you’re into Italian imports from the gory, glory days of the 1970s, you may want to pull out your vomit bag in preparation for BEYOND THE DARKNESS: BUIO OMEGA. This 1979 Italian voodoo thriller from Joe D’Amato, known as BURIED ALIVE in the U.S., features a score by Goblin.
Synergy Entertainment offers up three old titles on DVD, packaged with collectible t-shirts, featuring reproductions of the original poster art: METROPOLIS, ATOM AGE VAMPIRE, and ATOMIC BRAIN. Each shirt is available in large and extra-large. By the way, the version of METROPOLIS is one of the old, previously available cuts of the film, not the newly restored one currently circulating in art house theatres.
The week’s other releases include:
- STARGATE UNIVERSE SG-U 1.5 on DVD
- A new Blu-ray disc of CROUCHING TIGER, HIDDEN DRAGON
- PUPPET MASTER AXIS OF EVIL on DVD and Blu-ray
- CRACK IN THE WORLD, starring Dana Andrews, the DVD
- SABRINA THE TEENAGE WITCH: THE COMPLETE SERIES on DVD
- BATTLESTAR GALACTICA: SEASON THREE on Blu-ray
- Ray Bradbury’s CRYSALIS on DVD
- HELL GIRL: THE TWO MIRRORS, a two-piece DVD set
- THE DEAD MATTER on DVD and 3-disc deluxe edition
- THE BURNT HOUSE on Blu-ray
Superherohype says it has confirmed that Nicholas Hoult (pictured, CLASH OF THE TITANS) has been cast as Hank McCoy (the Beast) and Caleb Landry Jones (THE LAST EXORCISM) will play Sean Cassidy (Banshee) in X-MEN: FIRST CLASS.
Entertainment Weekly says that Lucas Till (THE SPY NEXT DOOR) has also been cast in the film, possibly as Alexander Summers, brother of Scott Summers (Cyclops).
In the comics, Alex would resent his brother’s leadership and by the book attitude, eventually rebelling as the pisionic-powered Havok.
The article warns this might be disinformation from 20th Century Fox, in an attempt not to reveal all the roles too early.
At first glance, Nicholas Hoult looks a little slight to play Hank McCoy, depicted in the early comics as a brainy, brawny, broad-faced and usually barefoot and cheerful character. (A nice change from the generally angst-filled teens at Professor Xaviers School for Gifted Students.)
It remains to been seen what path the Matthew Vaugn-directed film version will follow, and if McCoy will assume his later hirsute beastly form
M. Night Shyamalan owes audiences an apology. Paramount pictures owes viewers a refund. Not for the overall defectivness of THE LAST AIRBENDER (although there is that). Rather, they owe us for the abominable 3-D presentation, which costs consumers an extra $4 per ticket – money that could be far more entertainingly used by bending it into origami torture devices and inserting into the vulnerable anatomical areas of those responsible for the post-production 3-D conversion.
THE LAST AIRBENDER is the current bete noir of those who prefer their 3-D films shot that way, rather than retrofitted after the fact. Like the upcoming THE GREEN HORNET, Shyamalan’s film was shot in standard 2-D, then converted, because 3-D makes everything better – or, rather, it allows theatres to charge more for the allegedly premium viewing experience. Never mind that the results are haphazard, sometimes lacking depth, at other times stretching the anatomical proportions of a shoulder to that of a mountain range. And the polaroid lenses darken the image by one or two stops, diminishing the sparkle of the cinematography. Far from a premium experience, THE LAST AIRBENDER ends up looking as if it were being projected in a second-run theatre striving to save on projector bulbs by turning down the illumination.
Why would a distributor foist such a defective product on paying customers? Hollywood has jumped on the 3-D bandwagon in a big way since James Cameron’s 3-D blockbuster AVATAR blew through the international box office, earning billions worldwide. Fortunately for viewers, AVATAR was actually shot in 3-D, and the difference is stunning in its clarity and depth, helping to immerse viewers in the on-screen action. Unfortunately for viewers, the extra dollars earned by charging more for 3-D screenings tempted Hollywood to cash in, regardless of quality, with last-minute 3-D conversions for ALICE IN WONDERLAND and CLASH OF THE TITANS. THE LAST AIRBENDER – which, ironically, is based on a Nickelodeon cartoon series titled AVATAR: THE LAST AIRBENDER – is simply the latest example, and it is an understatement of Godzilla-size proportions to say that LAST AIRBENDER is no AVATAR.
Sadly, if atrocious 3-D conversions continue, audiences might revolt against being ripped off for higher prices that do not deliver higher quality, and we could see the third wave of 3-D come to a premature conclusion, just as similar waves died out in the 1950s and 1980s. That would be a disaster, because today’s 3-D technology is capable of offering viewers something better than they have ever seen before; it simply needs to be done correctly.
Although the current 3-D craze flew onto the Hollywood radar with AVATAR, it actually launched considerably earlier. Cameron has long been advocating for an industry-wide shift to 3-D, and so has Jeffrey Katzenberg, whose DreamWorks Animation recently released HOW TO TRAIN YOUR DRAGON and SHREK FOREVER AFTER in 3-D. Two years ago, JOURNEY TO THE CENTER OF THE EARTH was originally titled JOURNEY TO THE CENTER OF THE EARTH IN 3-D, until it became apparent that the lack of 3-D theatres would require that most engagements be in 2-D; unfortunately, the film was so bad that 3-D was almost the only appealing thing about it. The far superior CORALINE (2009) also used 3-D to enhance its fantasy world, adding depth to the texture of its stop-motion puppets and miniature sets.
Meanwhile, a couple of modestly budgeted horror films put 3-D to good use last year: MY BLOODY VALENTINE and THE FINAL DESTINATION opted for the old-fashioned gimmick of tossing objects out of the screen; pick axes and shrapnel seemed to fly right into your face, providing a cheap but very entertaining thrill, not all that different from the ping-pong ball that seemed to bounce under your nose in HOUSE OF WAX back in 1953. What is different is that the new digital 3-D offers a pristine picture, unmarred by double images, blur, or any of the other problems that used to plague stereo-vision movies of yesteryear.
3-D is being adopted today for the same reason it was in the past: as a way of luring audiences back into theatres. In the 1950s the enemy was television; in the 1980s it was the new home video market. Now we have DVD, Blu-ray, VOD, streaming, iPods, etc. – all of which pose a threat to theatrical distribution. Widescreen high-def television sets can offer a great home viewing experience, but the glory of IMAX 3-D is still available only in theatres. However, Hollywood needs to learn a lesson from the past.
The two previous 3-D waves lasted about a year each: 1953 and 1983. In each case, the novelty of 3-D wore off quickly, marred by bad movies and eyestrain. There have also been sporadic attempts to use 3-D as a gimmick in exploitation films like THE STEWARDESSES (1969). ANDY WARHOL’S FRANKENSTEIN (a.k.a. FLESH FOR FRANKENSTEIN, 1973) offered X-rated nudity and gore by the boatload, which raised the question of whether 3-D might inherently be most appropriate for lurid subject matter. Certainly, the 3-D Frankenstein film (which was actually written and directed by Paul Morrissey, with an assist from Antonio Margherti) made some of the best use of the process ever; the entrails and organs dangling in front of viewer noses heightened the absurd nature of the campy storyline in a way that no 2-D presentation could match.
The conventional wisdom became that 3-D was a gimmick; even if the technical issues could be resolved, it was not appropriate for “serious” films. For many years, few filmmakers even attempted it, outside of theme park attractions like CAPTAIN EO, motion-simulation rides, and IMAX short subjects like SIEGFRIED AND ROY’S THE MAGIC BOX. Because these short films were presented in at most a handful of specially designed theatres, the quality of the 3-D could be maintained in a way that was not possible for a nationwide release screened at the local multiplex. For years, it seemed that this was all 3-D would ever be.
That changed thanks to new digital technology. Whether or not you swoon at the sight of a pick ax flying into your face, or burning shrapnel exploding out into the audience, you have to admit that MY BLOODY VALENTINE’s 3-D and THE FINAL DESTINATION proved that all the old problems had been; each film looked as good as – or better than – the best 3-D ever seen. Even though they still required polaroid lenses, the image was clear, sharp, and bright; you didn’t suffer from mismatched brightness for the right eye versus the left eye (as happened with the red-green glasses used for the 3-D sequence of FREDDY’S DEAD: THE FINAL NIGHTMARE, for example). In short, this and other recent 3-D films proved that the process could be viable for a nationwide release, with a presentation in your local theatre that could equal the viewing experience previously achieved only in a specially designed venue for something like TERMINATOR 2 3-D.
With high-quality 3-D now seemingly within the grasp of even modest filmmakers, the equation has shifted. It’s no longer a matter of smacking thrill-seekers in the face with a few objects popping off the screen. The beautiful sense of the depth, coupled with the ease on the eyes, allows for opportunities to fashion more subtle movies, in which the stereo-vision simply makes the movie seem more real, as if you are looking through a window upon another world. 3-D can be more than an exploitation gimmick; it might turn out to be a tool used to enhance many different kinds of stories, not just ones emphasizing sex and violence. At very least, the potential seems to be there, if creative filmmakers can seize it.
3-D conversion, however, is another matter – a last-minute effort to layer a phony sheen on a film not designed for it (even if you can add depth, you cannot retroactively create sequences designed to showcase the third dimension). Advocates selling their processes claim their results can be as good as or better than films shot in 3-D, and there are cases that yield good results . Computer-generated movies – which exist only in the virtual realm anyway – can be digitally retooled to create double images for the left and right eye, yielding a convincing sense of depth even if the films lack gimmicky images of objects flying off the screen. Also, the 2006 3-D conversion of Tim Burton’s THE NIGHTMARE BEFORE CHRISTMAS (1993) looked beautiful: something about the stop-motion figures and sets lent itself to the process; the added depth made them seem even more tangible.
Live-action, however, turns out to be a less successful mad scientist’s experiment, one that creates results as mis-shappen as any Frankenstein monster. There are reports of blockbusters like STAR WARS, TITANIC, and KING KONG being converted to 3-D with great results, which we should be seeing in upcoming re-releases. However, the few post-AVATAR examples we have seen do not bode well, failing to deliver results that would justify the extra expense.
CLASH OF THE TITANS presented what looked like flat figures cut out and separated into foreground, midground, and background; when depth did appear, it cold be grossly out of proportion, as when Ralph Fiennes’ hair seemed to be floating about a food behind his head. THE LAST AIRBENDER often looks flat. Worse, it looks so dingy that removing the polaroid glasses often improves the viewing experience; much of the live-action appears without the double images necessary to create the separation between left eye and right eye that is necessary for 3-D. In short, you would be better off paying for a 2-D screening and saving yourself the extra bucks.
And extra bucks is what this is all about, really. Hollywood has been advocating for tiered ticket prices for over a decade, hoping to charge more for their more lavish blockbusters, and 3-D finally has finally given them the excuse they need. But is this a good idea? If theatres charge more, audiences have a right to expect more – and the films had better deliver all the flash of a supernova.*
Instead, we find ourselves in a situation where little local theatres are charging more for a premium experience that is far from premium. This is, to put it bluntly, a rip-off, and viewers should boycott future 3-D conversions until someone proves they can deliver the depth and visual immersion of genuine 3-D. While I’m on the topic of rip-offs: if you attend an “IMAX” 3-D presentation at your local multiplex, the chances are that you are not seeing true IMAX, which requires a phenomenally large screen and steep, stadium-style seating, which can only be achieved in a specially built theatre. But calling it “IMAX” allows the theatres to charge even more, ripping you off twice as much.
Genuine 3-D is worth the extra money – if the film itself is good. The same can be said of genuine IMAX. A combination of the two, applied to a great film, offers the kind of spectacle that deserves to be called “premium viewing.” If Hollywood wants to lure viewers back into theatres, away from their iPods and digital downloads, they need to offer the real deal – good films designed for 3-D from the ground up – not bad movies polished up with an artificial sheen that does nothing to hide their underlying faults. To use 3-d that way would be to repeat the mistakes of the past, and if Hollywood is too stupid to self-correct their own destructive course, then we need to send the studios a message: We will pay premium prices for films that truly deliver a premium experience, but not for a ghastly imitation.
- In a sense, there used to be a tiered system: decades ago, blockbusters were rolled out gradually, first appearing in exclusive, months-long engagements in lavish movie palaces with higher ticket prices, while smaller studio productions and independent films moved more quickly into the less expensive local theatres. Even when Hollywood started releasing everything nationwide on opening weekend, there was still a sort of self-selecting form of tiered pricing: viewers were more likely to drive to an expensive downtown theatre to see LORD OF THE RINGS: THE FELLOW SHIP OF THE RING than to see HOSTEL 2.
— Stop-Motion Great Turns 90 —
Today, June 29th 2010, is Ray Harryhausen’s ninetieth birthday.
Special effects innovator, stop-motion animator, concept artist, story generator, producer, and a genre icon, responsible for many of the more imaginative science fiction films and fantasies that shaped 20th century cinefantastique.
Beginning (from the genre fan’s point of view) with 1949’s MIGHTY JOE YOUNG, Harryhausen’s work captured the imaginations of millions. Inspired by his mentor Willis O’Brien, the effects man was kind and intelligent enough to give the public a look behind the scenes of the once secretive world of film effects, often appearing in his friend Forry Ackerman’s FAMOUS MONSTERS, and extensively in the pages of CINEFANTASTIQUE Magazine.
Some of his best known films are THE BEAST FROM 20,000 FATHOMS (1953, based in part by his friend Ray Bradbury’s The Foghorn), EARTH VS. THE FLYING SAUCERS (1956) 20 MILLION MILES TO EARTH (1957), THE 7th VOYAGE OF SINBAD (1958), JASON & THE ARGONAUTS (1963), FIRST MEN IN THE MOON (1964), ONE MILLION YEARS B.C. (1966), THE GOLDEN VOYAGE OF SINBAD (1974) and the original CLASH OF THE TITANS (1981).
Often, Ray Harryhausen would generate the basic ideas and storylines for his films himself, using his artistic skills to create pre-production concept art to map out his larger-than-life imaginary adventures.
He’s probably the very first genre film fan to become a filmmaker himself, and his own films would inspire many others.
According to The L.A. Times,
CLASH OF THE TITANS 2 is being fast-tracked, and Jonathan Liebesman (DARKNESS FALLS) is the lead contender for director.
Warner Brothers and Legendary Pictures have reportedly been meeting with a number of candidates, hoping to begin production in or near January 2011.
Liebesman appears to be the front-runner. His sci-fi actioner BATTLE: LOS ANGLES, starring Aaron Eckhart (THE DARK KNIGHT) and Michelle Rodriguez (LOST) from Columbia Pictures is due to open in March 2011, and he has ODYSSEUS lined up for the future.
The need for speed? They have to make sure star Sam Worthington is free, because he’s committed to James Cameron’s AVATAR 2.
TITANS 2 would be shot in 3-D from the get-go, rather than relying on the often unsastisfactory post-production conversion process.
The Hollywood Reporter reveals that Warner Brothers and Legendary Pictures are hiring two new writers for a sequel to CLASH OF THE TITANS: Dan Mazeau and David Leslie Johnson. Greg Berlanti is already working on a treatment; Mazeau and Johnson will collaborate with him, then write the screenplay.
The hiring of multiple writers is not uncommon for blockbuster films. Studios like to avoid putting all their eggs in one basket, fearful of spending months developing a story only to end up with a script that has great action scenes but terrible dialogue or vice versa. Different writers are brought on to finesse certain elements; however, the typical procedure is to have them working separately or even serially, with the the final draft later cobbled together from the various efforts. In the case of CLASH OF THE TITANS 2, Warners is putting the writers together, with the hope that Mazeau (who penned the upcoming THE FLASH and JOHNNY QUEST) can supply the action with Johnson (THE ORPHAN) adding the drama and characterization.
The plan is for Sam Worthington and Gemma Arterton to return. CLASH OF THE TITANS 2 will be shot in 3D (rather than adding 3D in post-production). Expected release date is spring 2012.