Who should approach Fifty Shades Darker?
March 28, 2015 - Fifty Shades of Grey
You only destined one of a year’s many expected movies. Your film has grossed over half a billion dollars. The studio wants to make dual sequels. What do we do?
Well, if you’re Sam Taylor-Johnson, you run run run divided from the Fifty Shades of Grey franchise. Word widespread during the Fifty Shades press debate that Taylor-Johnson didn’t get along good with author E.L. James, who has a poignant volume of artistic control over a films. (No doubt she insisted that Fifty Shades of Grey feature all those riveting agreement traffic scenes and fan-favorite aircraft montages, and some peacock feathers.)
So who will direct Fifty Shades Darker, a supplement now designed for
as shortly as probable Universal wants that skrilla let’s make it sleet baby 2016? It’s tough to suppose any timeless directors holding on Darker—although only suppose a J.J. Abrams reboot!—but it’s turn common for up-and-coming directors to take on authorization work as a pathway to a vast leagues. Think Rian Johnson doing Star Wars 8; think Colin Trevorrow doing Jurassic Park 4; consider Ryan Coogler doing Rocky 7: Son of Apollo.
Think Peter Strickland, a executive of Berberian Sound Studio and The Duke of Burgundy, a span of remarkably uncanny genre oddities. Duke of Burgundy is a pivotal comparison indicate here: Arriving in theaters during roughly a same time as Fifty Shades of Grey, Burgundy is also an amorous BDSM kinkfest, desirous by ’70s euro-softcore like Emmanuelle. More than a few critics compared Burgundy to Fifty Shades, partially since they’re both eccentric and partially because Burgundy is a million times better. Strickland’s an particular director, and it’s tough to see him holding on supplement work—but if he wanted to take on a vast film, Fifty Shades is a authorization that seems singly built for him.
Then again, maybe Fifty Shades Darker should take the Moneyball approach, anticipating an undervalued-asset executive who deserves a visible showcase. For approach too long, Kimberly Peirce has been perplexing to find a right plan to follow by on a guarantee of Boys Don’t Cry. Her chronicle of Carrie was intriguing, though suffered from a weirdly sanitized adaptation—something that nobody would design from Darker. (Peirce’s excellent work since Boys Don’t Cry might indeed be as a articulate conduct in This Film Is Not Yet Rated, where she rails opposite a MPAA’s limiting policies on womanlike orgasms—something that feels like a potentially press tour-defining articulate point.)
Likewise, Mary Harron has spent a years since her masterpiece American Psycho as a journeyman director, though a Notorious Bettie Page helmer has a style tailor made for a Fifty Shades film. (Hell, Christian Grey is fundamentally a somewhat less crazy Patrick Bateman.
For that matter, if we’re articulate about voluptuous movies, because not go behind to a source? Adrian Lyne directed new-classic amorous thrillers Fatal Attraction and Unfaithful. Back in 2013, he bemoaned a fact that Hollywood had stopped creation cinema like that. Clearly, Hollywood listened.
With many authorization film adaptations, a executive is hamstrung when it comes to plot, character, and even set design; their categorical grant is mostly visual. It would be engaging to see what kind of stamp arthouse stylists like Harmony Korine or Sofia Coppola could do with this sudsy-camp material. It’s value remembering that Coppola was once in a using to approach a two Breaking Dawn films. Actually, given a debt that Fifty Shades of Grey owes to Twilight, maybe we should take a closer demeanour during that franchise’s directorial lineup. Breaking Dawn director Bill Condon also done a sex-research film Kinsey, that admittedly doesn’t underline a masquerade-ball lady-auction. Eclipse director David Slade has tangible a visible cultured of NBC’s Hannibal, a decadent kinkfest that feels really tighten to Fifty Shades’ wavelength.
Or maybe Pixar can take a reins and reboot the Fifty Shades series as a desirable story of a squad of mischevious ties who are always removing tied adult in several gnarled shenanigans. Who would we like to see direct Fifty Shades Darker? Lisa Cholodenko? Matthew Vaughn? Zack Snyder?