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 Drew Goddard [Scénariste]

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Date d'inscription : 07/01/2009

MessageSujet: Drew Goddard [Scénariste]   Sam 20 Mar - 14:01



Drew Goddard est un scénariste américain né le 26 février 1975 à Los Alamos, Nouveau-Mexique. Il s'est fait connaître en tant que scénariste pour son travail sur la série Buffy contre les vampires.

Son travail :

  • 2002 et 2003 : Buffy contre les vampires, 5 épisodes : Crise d'identité, Connivences (en collaboration), Le Sceau de Danzalthar, Un lourd passé (en collaboration) et L'Armée des ombres
  • 2003 et 2004 : Angel, 5 épisodes
  • 2005 et 2006 : Alias, 5 épisodes
  • 2005 à 2008 : Lost, les disparus, 9 épisodes
  • 2008 : Cloverfield
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MessageSujet: Drew goddard   Sam 23 Oct - 15:59

Drew Goddard va bien voir l'un de ses scripts être dirigé par le grand Steven Spielberg !



Il s'agira du film "Robopocalypse" :

Citation :
"Robopocalypse" Movie - Spielberg may direct his script

Showtime’s announcement of an exclusive output deal with Disney that includes up to 35 DreamWorks films through 2015 begs the question : will Steven Spielberg get behind the camera and deliver one before that deal is up ? A flirtation with Paramount to do Matt Helm with Jon Hamm cratered, as did an attempt to do Harvey with Robert Downey Jr. at Fox 2000. Since then, guessing Spielberg’s next move has become a parlor game at the agencies.

The latest title gaining steam among speculators is Robopocalypse, now that Cloverfield screenwriter Drew Goddard has been hired to adapt the Daniel H Wilson epic about the human race’s attempt to survive an apocalyptic robot uprising. Wilson hasn’t finished the book yet, but word is Goddard has gotten underway and that it’s a serious candidate. Let’s face it, a big ticket Spielberg-directed tent pole would be a smashing way to start DreamWorks’ new partnership with Reliance. There continues to be a lot of chatter about War Horse, which started when Spielberg traveled to London recently to see the stage adaptation of the Michael Morpugo novel . DreamWorks acquired the book last year and hired Lee Hall to write the script. Fading on the speculation meter is Gershwin, which had way more buzz a month ago when Deadline revealed Zachary Quinto—the Star Trek and Heroes star—would play the composer. Studio insiders say Spielberg hasn’t chosen, and candidates like The 39 Clues, and the Lincoln Civil War project should not be dismissed. "We’re all waiting, we’d all love to know," said the source.

The Spielberg-directed The Adventures of Tin Tin : The Secret of the Unicorn won’t be part of the Showtime deal, because the film was financed by Paramount and Sony. Because Paramount has domestic distribution, Tin Tin will be an Epix title. The first DreamWorks film in the new Showtime contract will be Real Steel, with Hugh Jackman starring and Shawn Levy directing.
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MessageSujet: Re: Drew Goddard [Scénariste]   Jeu 12 Avr - 10:48

Interview de Drew Goddard :


Citation :
Drew Goddard on Cabin in the Woods, Brainstorming Monsters, and the Horror-Movie Whore
By Jennifer Vineyard




After working on such cultalicious TV shows as Buffy the Vampire Slayer, Angel, Alias, and Lost, and then writing the 2008 film Cloverfield, Drew Goddard is finally making his directorial debut with The Cabin in the Woods. It's a movie he's been cooking up for a couple of years with his co-writer pal Joss Whedon (who also produced). The movie is a brilliant, bloody, hilarious riff on the teen-slasher genre by two experts in gore (and monsters — yes, there are monsters). It's a movie of many wonderful secrets — none of which we want to ruin. Fortunately, Goddard was willing to talk a bit about the role that horror plays in our culture, the genre's archetypes, and even Tom Cruise.


Is it tricky talking about this movie? Let me know when we get too far into spoiler territory.
In a way, I wish we didn't have to tell people anything. But people who've already seen it have been protecting the movie for us, and saying, "No, it's better to be surprised." If you want it to be spoiled, it can be. I was worried with Cloverfield that we were giving too much away in the first trailer, but that's not what we've done here.


There were several points in the movie that I wanted to freeze frame, like the board with all the names of the monsters, because it goes by so fast. Even if you're paying close attention, you're going to miss some.
We certainly made this movie for repeat viewing. This is what I do for fun — brainstorm about monsters!


What about the ballerina with the teeth for a face?
The ballerina dentata?


Is that what she's called?
Absolutely. We're creating our own mythology here, so we can call her whatever we want. We didn't want this to be just a mash-up of other movies, but the fun is also how we've packed this thing full of Easter eggs to make you pause at various places. Especially when they're figuring out how to summon the monsters.

You'd think after all this time, you'd know not to pick up and play with a creepy-looking Rubik's Cube–like puzzle because you might summon someone like Pinhead [from Hellraiser].
That's the thing about puzzles — they always make you want to play them. [Laughs.] It's human nature. And even with every horror movie we've ever seen, we're still going to play with them. With this movie, it's more than a reference or a homage to those films.

Because you're redefining the genre. Or subverting the genre. Or deconstructing the genre.
I guess so. I'm going to leave that to others to decide. If subversion comes along, so be it. I just love that we're throwing the ultimate horror party. And really, we're telling stories about why we tell stories, with what the characters go through. That's the nature of creation.

The characters in Cabin become archetypes — the whore, the virgin, the athlete, the scholar, the fool. Why do we need these archetypes?
Because we're influenced by mythology, and there's a need to idealize youth, to make people into one-dimensional creatures. This happens over and over again in storytelling. Those archetypes exist because there's something about us that we need to compartmentalize, and this isn't just related to horror films, and it isn't just about our own culture. This is about myth, and if you're dealing with myth, you find where it fits inside us. It's about storytelling, and our need to create heroes, for lack of a better word.

With the blonde character — the "whore" who isn't a whore — what was the discussion about how to present her like?
The nudity? We absolutely discussed it. It's crucial to that part of the genre, and we felt we had to honor the genre. You have these conventions for a reason, and the reason is bigger than just, "What do kids like?" Since the beginning of time, we've been throwing virgins in the volcano, so to speak, so we felt it was necessary to examine it.

There's also a sense of glee on the part of two main characters seemingly in control whenever they kill someone off. Could these two guys in control be a metaphor for writers or directors? For you and Joss?
I don't know if that's what we set out to do, but there's something there. [Laughs.] I don't like killing off anyone, but sometimes it's necessary. I mean, I love these characters, and if it were ever fun to kill them, then I didn't do my job right. You have to feel a little sad. But you also sense that no matter what these kids choose, it's going to end up badly for them.

Along the way, Tom Cruise was one of the people giving you notes on this film. What did he have to say?
He was very supportive. The best thing I could say about him is that he had so much enthusiasm for this movie. I don't want to speak for him, but he definitely made it better. And that's the thing studio heads do, is give their thoughts.


You did get some notes about a raping tree, though.
We were doing a visual-effects review, and the tree was getting too fresh, so we had to pull back on the groping scale. It's [now doing] more uncomfortable petting than penetration. The hardest thing about this movie is getting the tone right, and it's so subjective, because it basically comes down to my taste. And then I've got to get 300 people to understand that. The line is admittedly sort of crazy and hard to predict, but you find it as you go. If our actors got too broad, we'd have them pull back. And the whole movie now is exactly what I want it to be.

Speaking of actors, you caught a lucky break with Chris Hemsworth, who is now Thor, but wasn't when you cast him.
It's the best thing that could have happened to us!

Will you be donning your own super-villain costume anytime soon? Will you be back as Fake Thomas Jefferson in the Evil League of Evil, should a Dr. Horrible's Sing-Along Blog sequel shoot this summer?
Nothing would make me happier. [Laughs.] Please have everyone tell Mr. Whedon that the fans demand it.

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MessageSujet: Re: Drew Goddard [Scénariste]   Mar 12 Juin - 14:28

Drew Goddard parle de "The Dark Knight" :


Citation :
Drew Goddard, director and co-writer, Cabin in the Woods :

"The greatest villain of all time is The Joker—he always has been and I don't know anyone who's not going to have Heath Ledger's performance burnt into their brains for the rest of their lives. And the thing about Chris that I admire so much is that he's not afraid to talk up to the audience, rather that down to the audience. He makes a gorgeous film; he makes an elegant and intelligent film, and that's the sort of thing that they didn't used to do with the superhero genre."

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MessageSujet: Re: Drew Goddard [Scénariste]   Ven 14 Sep - 14:21

Drew Goddard au sujet de "World War Z" :

Citation :
Drew Goddard Downplays 'World War Z' Rumors, Won't Get Writing Credit

With news of delays, reshoot, and rewriters, "World War Z," Marc Forster's adaptation of Max Brooks' zombie novel, became the troubled production everyone loved to talk about.

Most recently, the movie, which is now set for release next summer, reportedly brought on "Cabin in the Woods" director Drew Goddard to rewrite the script. Goddard had previously downplayed his role in the production, and when MTV News spoke with him for the Blu-ray release of "Cabin," he clarified his involvement.

"A lot got blown out of proportion about that," Goddard said. "This happens a lot where studios ask you to come and look at movies, and then you give your opinion on them. That's really what happens, and then you throw out some ideas for ways to make the movie better, but that happens on tons of movies."


Goddard described the job as something he did for friends at the studio. "I'm just friends with people at Paramount, and they had me do it," he said. "Somehow that leaked out. It became a much bigger deal. I just watched the movie and gave them ideas for how to make it better."

He even said that his work was so minor that it won't qualify him for a writing credit. "I wrote down some ideas, but it wasn't like 'Drew's rewriting the movie,' " he said. "I will not have a writing credit on that movie."

"World War Z" opens on June 21, 2013.

http://moviesblog.mtv.com/2012/09/13/world-war-z-drew-goddard/

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MessageSujet: Re: Drew Goddard [Scénariste]   Jeu 20 Sep - 18:01

Drew Goddard s'est prêté au jeu des questions/réponses avec ses fans, vous pouvez lire ces échanges ici :


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MessageSujet: Re: Drew Goddard [Scénariste]   Mar 3 Nov - 23:11

bon en voyant seul sur mars je me disais bien que le nom du scénariste me disait quelque chose Smile

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MessageSujet: Re: Drew Goddard [Scénariste]   Mer 4 Nov - 20:14

Ah ouais, il a écrit pour le film ? Je savais pas ^^

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