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RUMORS
Dec 18, 2012 1:44:32 GMT
Post by thecolonel93 on Dec 18, 2012 1:44:32 GMT
Here is the text in case anyone has difficulties with the link:
NEXT YEAR MARKS the 50th anniversary of the first "Pink Panther" movie. This starred David Niven, Robert Wagner, Claudia Cardinale, Capucine and, but of course, Peter Sellers as the bumbling Inspector Clouseau. Sellers would go on to reprise the role in "A Shot in the Dark," and make three more "Pink Panther" movies. MGM is bringing out a lavish DVD/Blu-ray box set of all the Sellers "Panther" pics. This will include cartoons--as well as the sly animated Pink Panther that opened and closed the movies. Steve Martin, who also played Clouseau a couple of times, has been planning another "Panther" movie. The script is being worked on.
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RUMORS
Dec 18, 2012 1:35:15 GMT
Post by thecolonel93 on Dec 18, 2012 1:35:15 GMT
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RUMORS
Oct 6, 2010 15:01:34 GMT
Post by thecolonel93 on Oct 6, 2010 15:01:34 GMT
Conflicting information from MikeCohen.ca on September 25: No More Pink Panther: Westmount native Shawn Levy was back in town last weekend to take part in a 25th anniversary reunion of his 1985 St. George’s School of Montreal high school class. Head of School James Officer was able to secure a few hours of his time on Saturday afternoon to speak to a packed house of current and former students. Levy is now a mega-successful Hollywood producer and director, responsible for the two Pink Panther movies, Night at the Museum and Cheaper By The Dozen films as well as Date Night. He now has two movies in production and about 10 in development. As much as folks like me would love to see Steve Martin in a third Pink Panther sequel, Levy says that is probably not going to happen. Another Ben Stiller Night at the Museum sequel, though, is a distinct possibility. See www.mikecohen.ca for more on my chat with Levy.
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RUMORS
Oct 2, 2010 14:05:07 GMT
Post by thecolonel93 on Oct 2, 2010 14:05:07 GMT
I haven't heard anything since Mr. DePatie addressed the script's development. The fate of MGM, although looking somewhat positive, will likely prevent any further development until they are on a firm path and the rights issues are sorted. I'm not sure how long Bob Simonds' option for a third picture has before the rights expire or must be renewed. That and the length of time between pictures will likely determine whether Mr. Martin returns or if we get yet another reboot from a new creative team. If it is the latter, it will delay another film even longer. Jean Reno has spoken positively about the films lately which is perhaps a sign of his willingness to return. Emily Mortimer, regrettably, has made comments about needing to take the roles she chooses more seriously now that she is working with a higher calibre of directors and stars. One presumes that was a reference to the Panthers. Apart from knowing the expectation was the third film would see Dreyfus go crazy, one presumes Nicole would be an important part of the film. Time will tell whether we get another sequel or a new direction.
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Post by thecolonel93 on Aug 31, 2010 17:45:13 GMT
It does not circulate among collectors currently.
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Post by thecolonel93 on Aug 30, 2010 3:58:48 GMT
October 1997 - MGM issued a press release that a new Pink Panther sequel was in development. Jeff Kleeman was the executive in charge of development. Ivan Reitman had signed to produce and develop the relaunch. Robin Williams and Jim Carrey were the two names linked with the project as possible replacements for Peter Sellers. The intent was that the studio would alternate 007 sequels with Panther sequels as their Christmas tentpole release.
Michael Saltzman was assigned to write the screenplay. The project had the working title PINK PANTHER X (as in "10"). I spoke with Saltzman a couple of times. He confirmed that the model for his relaunch was THE RETURN OF THE PINK PANTHER. His script ignored the post-Sellers films. Inspector Clouseau was established as the detective who recovered the Pink Panther diamond the last time it was stolen and is assigned to the case when it is stolen again. Dreyfus and Cato were the only returning characters. Cato was written as more of a "Watson" as in REVENGE. The plot set the film within the fashion industry. A Versace-like fashion designer is murdered. The murder ends up connected to the theft of the Pink Panther although appearing unrelated at the outset. Clouseau enters the world of high fashion. There was a sexy super model femme fatale character as well as a corrupt Lugash sheikh (owner of the Pink Panther) who is involved in drugs and a slavery ring.
Both Jim Carrey and Robin Williams turned the role down, neither actor believing Sellers was replaceable. Kevin Kline was attached for a time to star as Clouseau. In 1999 MGM decided they needed someone with more youth-appeal and walked away from Kline. Herbert Lom was attached to return as Dreyfus. Jackie Chan was set to play Cato.
Ivan Reitman had lined up Steve Oedekerk as director. Reitman was publicly critical of the original series, believing Saltzman's script to be outdated and not in touch with modern comedy. He favored a reboot giving Clouseau an origin story as a cadet and wanted Martin Lawrence or Chris Tucker as Clouseau to give the project edge. MGM favored Kevin Spacey as Clouseau. Spacey read Saltzman's script in April 2000 and rejected the part believing it to be nothing more than an imitation of the originals (which was Saltzman's assignment from the studio after all). It should be noted that entire gags (such as the gymnasium sequence from STRIKES AGAIN) were incorporated into Saltzman's script.
Spacey walking away from the project convinced MGM to trust Reitman. Previously, producer and studio as well as screenwriter were at odds on how best to proceed. Saltzman was removed from the project and Lenny Blum (a regular Reitman collaborator) was brought aboard to write the reboot the producer desired.
Blum took the framework of Saltzman's script and made the super model a pop singer, the fashion designer a football coach, and the high fashion setting replaced with international sports. A casino subplot was added to replace the politically incorrect Lugash sheikh. The character of Ponton was added as an Asian detective with the Surete. Jackie Chan was not entirely comfortable with the stereotyping of Cato from the original films. Herbert Lom was still expected to return as Dreyfus.
MGM did not agree with Reitman's casting choices for an African-American Clouseau (dubbed "The Black Panther" within the studio) and pursued both Mike Myers and Dana Carvey for the role. Myers (the studio's first choice) was interested, liked Blum's script, but wanted to rewrite it. Ideas pitched included Dreyfus going crazy at the end of the film and the addition of Professor Balls (to be played by Howard Stern - who denied being approached for the role as he was at the time hoping for a role in BATMAN BEGINS).
Ultimately, Myers dropped the project in favor of another AUSTIN POWERS sequel. MGM was frustrated by Reitman's inability to package a project the studio could greenlight and in November 2003, allowed Reitman's second option on the property to expire. Reitman was out and replaced by Bob Simonds as producer. Along with Simonds came Shawn Levy as director and Steve Martin as Clouseau. The trio had worked together successfully before and came as a package to the studio with Martin rewriting Blum's script.
Shooting began in the Summer of 2004 on Martin's rewrite. Ponton was no longer Asian. Dreyfus would not go crazy and Martin reached out to his friend and fellow Panther-lover Kevin Kline to replace Herbert Lom (deemed to be too old) as Dreyfus. Ivan Reitman fought for a producer credit, but was denied. The film was intended for Christmas 2005 release and was strictly PG-13 material with Austin Powers-style sex jokes. Test screenings for the film in 2005 proved disastrous. Blake Edwards publicly spoke out that he was not consulted on the script and was critical of the finished film.
Sony took over distribution from MGM and spent a substantial amount of money on reshoots to rebrand the franchise as a family comedy. Rawson Marshall Thurber reportedly came aboard as script doctor for the reshot scenes. The finished film, a hybrid of the 2004 version and the 2005 reshoots was released in Feburary 2006 to scathing reviews, but surprisingly solid box office helped greatly by the casting of Beyonce. Sony quickly moved ahead with a sequel despite Shawn Levy's unwillingness to return as director due to scheduling conflicts with the sequel to NIGHT AT THE MUSEUM.
Hope that answers most of your questions and gives you some idea on how the project dragged out over the course of nine years.
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Post by thecolonel93 on Aug 27, 2010 18:59:01 GMT
Rowan Atkinson was also offered SON, but declined (his star having risen considerably in the ensuing decade since CURSE was offered to him). Atkinson loves Sellers' work and the PANTHERs, but was sure no one could replace Sellers.
Kevin Kline was attached for awhile. He is a fan of the series and loves Edwards' work, but decided after reading the script that the project just wouldn't work. Edwards was convinced that Kline was the next Clouseau after seeing him in FRENCH KISS. Kline and Edwards were to work together on a project called LUCK (not an Edwards script) that William Morris packaged as a replacement project for the duo, but after SON flopped the project fizzled.
Gerard Depardieu was the next SON of Clouseau and was announced in the trades. When Giancarlo Paretti took over MGM, he backed out of the project. Edwards sued the studio again for not allowing him to arrange outside financing. When Alan Ladd, Jr. came aboard, MGM settled out of court with Edwards. Laddie greenlit SON but Depardieu was now doing CHRISTOPHER COLUMBUS and was no longer available. After the controversy over his rape remarks to an American journalist MGM was also having second thoughts about Depardieu's suitability for a family-friendly comedy series.
Edwards then wanted Roberto Benigni after viewing DOWN BY LAW and JOHNNY STECCHINO. While Benigni deliberated over the script, Tim Curry was kept in the wings as a potential back-up. Bronson Pinchot wanted the role, but MGM passed (I'm guessing because BLAME IT ON THE BELLBOY tanked). There is early concept art for the SON theatrical poster showing Curry's moustachioed, frizzy-haired Gambrelli in cartoon form (in the baby carriage or pram that Benigni's cartoon visage would inherit). Curry also talked to the press about his desire for the role.
Securing Benigni in late 1991 found the film much-needed third party financing from Aurilio De Laurentiis (Dino's nephew). His investment paid off since SON was a box office hit in Italy despite tanking everywhere else. Nevertheless, by 1996 MGM started asking Robin Williams and Jim Carrey about the series. MGM would cut a deal for a new Panther with Edwards (allowing the film to proceed without his participation) in 1997. Amazingly, it would take nine years and many more prospective Clouseau's before the Inspector and the Panther returned to the screen. Given the current state of MGM, the wait for the next Panther may be considerable.
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Post by thecolonel93 on Aug 24, 2010 21:22:18 GMT
From Roderick Mann's columns in the LA Times in late 1980 came the news that UA (not yet MGM/UA) had offered Dudley Moore the role of Clouseau in ROMANCE OF THE PINK PANTHER. This was after Danny Rissner left the project as producer and marked the studio's first attempt to carry on after cancelling the film when Sellers died.
In early 1981, Mann reported that Moore informed him that the studio wanted him to commit to a series whereas his stipulation would be that he only appear as Clouseau in ROMANCE as a tribute to Sellers who had intended ROMANCE to be the final film in the series. Moore also stated he wanted Blake Edwards to direct the film.
Danny Rissner had tried and failed to get Sellers and Edwards to make another Panther after REVENGE. He then tried to get Edwards to direct Sellers in ROMANCE using Sellers' script. At the time, you could only get one or the other. There was no possibility of another Sellers/Edwards Panther.
Mann's article from early 1981 makes it clear ROMANCE looked doomed. Edwards started production for VICTOR/VICTORIA for MGM a few weeks later in Spring 1981. MGM had just acquired UA. Edwards later stated during production of VICTOR/VICTORIA that MGM executive David Begelman was constantly pressuring him to make another Panther for the studio since they had just acquired the rights.
Jonathan Krane joined Edwards' production company in mid-1981, Krane was responsible for suggesting the one production for two Panther films concept utilizing the outtakes in Edwards' archive. Krane stated in his autobiography that his intent was for his wife (at the time) Sally Kellerman to replace Clouseau as the new bumbling detective character. Edwards and co-producer Tony Adams wanted Rowan Atkinson who MGM rejected as unknown in the USA. That's how we ended up with Ted Wass who was also cast in SHEENA for Warner Bros. around the same time. Edwards already had an established connection with the American television series "Soap" having worked with Richard Mulligan in S.O.B. and casting him as Clouseau's father in TRAIL so Ted Wass was not as surprising a choice as he seems today. He was an actor whose star was thought to be on the rise in the early eighties.
The production of both films were fraught with difficulty as Edwards and MGM were at war while shooting was underway. MGM resented Edwards for having two expensive productions greenlit by newly-ousted MGM exec David Begelman and did their best to police the production of TRAIL/CURSE and drive down costs. This certainly hurt the quality of the films, but admittedly the scripts were weaker than what had come before. Even the formulaic REVENGE still reads as a funny script in the circulating drafts. TRAIL/CURSE and (a decade on) SON just appear to be cynical money grabs and do not represent Edwards at his best for the period. Imagine a Panther film made with the quality and care of VICTOR/VICTORIA (released the same year as TRAIL) and you have an idea of what could have been.
As a post-script, it should be remembered that Edwards was overworking himself during this period averaging 2-3 productions each calendar year and was actively developing television and Broadway projects at the same time. Along with personal problems from the MGM litigation, he was also suffering from Chronic Fatigue Syndrome (not yet diagnosed) and battling with bouts of writer's block as a result. He was past sixty and was fighting hard to maintain his place in the industry at a time when he was still commanding salaries in the same league as Spielberg and Lucas. All of these factors are important to take into account for what went awry.
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RUMORS
Aug 24, 2010 20:47:33 GMT
Post by thecolonel93 on Aug 24, 2010 20:47:33 GMT
While not enough was made of it in the script, I liked the idea from TPP06 that Clouseau had been a gendarme for decades and is an older man when he gets his big chance (intended to fail) and actually proves himself. I thought that worked quite nicely.
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RUMORS
Aug 10, 2010 2:03:55 GMT
Post by thecolonel93 on Aug 10, 2010 2:03:55 GMT
I believe TPP2 grossed around half of what the first film did. I have not had confirmation of the writers. It is not Scott Alexander and Larry Karaszewski (who did the uncredited rewrite on TPP2 that really salvaged the film in my view). It is possible (and please understand that I am ONLY speculating) that it is Lowell Ganz and Babaloo Mandel who had previously reworked TPP2 script and have a good working relationship with Mr. Martin. In another interview prior to the screening of the original PANTHER, Mr. DePatie mentioned that a new Pink Panther animated Christmas special is in development for Christmas 2011.
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Post by thecolonel93 on Jul 29, 2010 14:06:01 GMT
The version on ULTIMATE PINK PANTHER is performed by Henry Mancini Orchestra and Chorus. It was the B-side to the 45 RPM single of "A Shot in the Dark." You do hear male voices on this recording. The one in the film (believed to be Fran Jeffries) is not the same version.
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Post by thecolonel93 on Jul 29, 2010 14:03:52 GMT
"The Easy Life in Paris" is the other original track on the TRAIL soundtrack album. It is the theme Mr. Mancini wrote to score Graham Stark's return as Hercule Lajoy.
More importantly, Ken Thorne's INSPECTOR CLOUSEAU soundtrack is now on CD courtesy of Kritzerland Records and MGM. If you haven't picked it up yet, you'll want to do so.
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Post by thecolonel93 on Jul 29, 2010 13:58:17 GMT
The Inspector of the Inspector cartoons is still Inspector Clouseau. If it wasn't, he wouldn't appear in the titles to the films and he wouldn't be owned by Blake Edwards.
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Post by thecolonel93 on Jul 29, 2010 13:50:58 GMT
Of course now The Inspector and Ant & the Aardvark cartoons are on DVD which is a good thing. I opted for the Region 2 DVD with The Inspector shorts since Volume 2 was only sold in the ultra-expensive box set in the States.
Interestingly, it was noted that The Inspector is never named, but in the comic books of the early seventies, he is although Clouseau is misspelled Clouzot like the director rather than the film character.
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RUMORS
Jul 29, 2010 13:46:08 GMT
Post by thecolonel93 on Jul 29, 2010 13:46:08 GMT
Celebrated Animator Brings Pink Panther to Gig Harbor Pink Panther creator loves his new community. By Rodika Tollefson , Scott Turner Kitsap Sun Posted July 23, 2010 at 5:03 p.m.
GIG HARBOR — David H. DePatie has lived many places, spending a good deal of time in Southern California. A few years ago, he worked his way north, landing in Oregon for a while, and now he’s found a new community he doesn’t plan to give up: Gig Harbor.
DePatie may not be a household name, but those kids who grew up with the Pink Panther cartoons (and adults who never grew out of it) would appreciate having him for a neighbor. DePatie, who has lived in Gig Harbor for five years, created the classic animated character Pink Panther for the Peter Sellers films, and produced the Pink Panther animated shorts.
Living in a beautiful Gig Harbor home with an in-house theater, the 79-year-old DePatie is still as busy as ever. The panther continues to live on the Cartoon Network and two movies with Steve Martin (with a new one being about one-third into the script stage).
“Whenever these new movies come out, I’m responsible for the animations. All of these titles on all the Pink Panther films remained animated throughout the years,” DePatie says. “We do not do the Pink Panther in computerized animation.”
With all the modern technology, DePatie says he doesn’t have to be in Los Angeles studios as often, yet he still travels frequently for his job. But he doesn’t seem to mind. “I love it here … I’ve lived in a lot of places and I’d never felt more at home than I do in Gig Harbor. I think it is a wonderful community and it’s a pleasure to be part of it.”
From creative writing to animation
DePatie got his start in the entertainment industry after studying English literature and creative writing at University of California-Berkley and getting a film editing apprenticeship for Warner Brothers Studio. That got him a job for Michael Todd, producer of “Around the World in 80 Days.” DePatie worked for two and a half years for the film, which went on to win an Academy Award for Best Picture.
DePatie went back to Warner Brothers and eventually became the youngest person to be vice president, running both the commercial films and animation divisions. When Warner closed the division, instead of moving ahead as a television producer for the company, DePatie thought it was time to go into business for himself.
“I had my pick of the litter because everybody was getting fired at Warner,” he says. He got to lease the same studio from Warner, and with his friend, director Friz Freleng, opened up shop in 1963. Those days, they were mostly doing animated television commercials, with characters like Charlie the Tuna.
That’s where, eventually, the Pink Panther found him — or rather, Blake Edwards, the director or the Peter Sellers film, did. Edwards handed DePatie-Freleng Enterprises the script for the action movie and asked them to develop the Pink Panther character.
“We took all these drawings (about 100) over to Blake’s house and laid them all out on the floor and he walked around and said, ‘That’s the one I want,’ and the character was really born right there. It was that simple,” DePatie says.
The film was new territory, and was well received. “In those days, there had never been such thing as a fully animated title to a movie,” he says. “… This was something new and unique.”
DePatie wasn’t ready to see Pink Panther shelved. He pitched the idea to the film’s production company, the Mirisch Co., of making a theatrical cartoon (back in the ‘60s, cartoons were shown before every movie). When the studio offered a contract for 156 six-minute shorts, DePatie made one more move: He wanted his company to own 25 percent of the copyright (with the other 75 split evenly among Mirisch, Edwards and his company and the studio, United Artists).
“So I went to Harold Mirisch (one of the three brothers who owned it). He jumped up and down and screamed and said, ‘Get out of here.’” A week later, the contract was in hand, and DePatie-Freleng got its 25 percent. “That’s why I’m sitting here right now, in Gig Harbor. That’s essentially the story of how Pink Panther got started with this addendum,” DePatie says.
The story, of course, went on to develop famously. The first cartoon, “The Pink Think,” won an Academy Award for best cartoon. The panther continued living on in theaters, migrated to television, and got back into motion pictures when Steve Martin was cast to bring the bumbling French inspector Cluseau back to life.
“I think it’s actually become a classic. I think the fact that he’s been a pantomime character where we didn’t have a voice for him (was good) for all of our foreign audience, which is huge,” DePatie says. “Actually the panther does better in France and in Italy and Germany than he does here.”
Of course, the Pink Panther has plenty of followers in the United States, and the love crosses demographics. The older generation is still hooked, thanks to the Sellers films, and now teens, pre-teens and youngsters are following the capers.
DePatie, too has won numerous acclaims for his work. But there’s one award that he considers the most special: a lifetime achievement from the Gig Harbor Film Festival.
“I’ve got an Oscar and I’ve got four or five Emmys, but this came from the people where I live and I think that’s very special, to be recognized in the community and be part of it,” he said. “That, to me, is top drawer.”
Hear David DePatie Talk
David DePatie will present at the CinemaGig Outdoor Movies screening of the Peter Sellers original “Pink Panther” film on Aug. 6 at Donkey Creek Park. He will talk about his experience and give a perspective on the movie prior to the screening. The outdoor movies are free and start at dusk. The DePatie presentation was organized thanks to the Gig Harbor Film Festival.
“We are thrilled and excited to show one of the animated films prior to starting the full feature film,” says Gig Harbor city marketing director Laureen Lund.
For information about CinemaGig, visit gigharborguide.com.
© 2010 Kitsap Sun. All rights reserved.
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