Monday, May 26, 2008

News - 05/27/08...

Indiana Jones and the Massive Opening

Paramount and Lucasfilm's Indiana Jones and the Kingdom of the Crystal Skull has earned a massive $311.1 million at the worldwide box office in just five days! The return of the man with the hat pulled in an estimated $126 million domestically over the four-day holiday weekend, marking the second-best Memorial Day weekend bow, trailing only last year's Pirates of the Caribbean: At World's End ($139.8 million). For the five days, "Crystal Skull" is up to $151.1 million domestically. That's the fifth-biggest five-day start ever and is close to Spider-Man 2's $152.4 million. Overseas, the film grossed $160 million through Monday, of which the weekend take through Sunday ($146 million) is the fifth-best international opening of all time. Executive produced by George Lucas, directed by Steven Spielberg, and starring Harrison Ford, the anticipated film was made for about $185 million.

In second place, Disney/Walden's The Chronicles of Narnia: Prince Caspian added $28.6 million over the four-day weekend, pushing its two-week total to $96.7 million. Internationally, the sequel has earned $49 million so far, bringing its worldwide total to $145.7 million. The follow-up was reportedly made for around $200 million.

Marvel Studios' Iron Man (Paramount) was still going strong in third, collecting another $25.7 million for the four days to bring its domestic total to $257.8 million. Overseas, the Robert Downey, Jr. starrer has reached $228 million and worldwide the comic book adaptation now stands at $485.8 million after four weeks. The Jon Favreau-directed film was budgeted at $140 million.

Fox's What Happens in Vegas, starring Cameron Diaz and Ashton Kutcher, performed well in its third weekend making another $11.2 million during the four days. The $35 million comedy has earned $56.4 million.

Warner Bros.' Speed Racer rounded out the top five with $5.2 million. Made for about $120 million, the Wachowski Brothers adaptation is at $37.4 million after three weeks.

If estimates hold, Universal's Baby Mama again barely topped Sony's Made of Honor. The former remained in sixth place with $4.2 million for a total of $53 million, while the later collected $4.2 million for a total of $39.9 million.

Unseen Miyazaki art from Ponyo

Ghibliworld has posted a new unseen art done by Hayao Miyazaki for his upcoming film Ponyo on the Cliff by the Sea which features an underwater scene from the film. Ponyo opens in theatres in Japan on July 19.

New WALL•E featurette, Behind the scenes

Yahoo!Movies hosts a new WALL•E featurette titled The Man and the Machine which focuses on the director, Andrew Stanton. WALL•E opens in theatres on June 27. Be warned of the possible spoilers!

Hokusai: An Animated Sketchbook

Tony White has just posted onto YouTube his classic animated short Hokusai: An Animated Sketchbook. He offers some background about the film:

“This was my first ever… and still my favorite… short animated film! I created it in my spare time while I was still a director/animator at the Richard Williams Studio in London during the late 1970’s. I actually started the film after we had completed ‘A Christmas Carol’, when I was Richard Williams’ own personal assistant at the time. ‘Carol’ went on to win the first of Dick’s three Oscars. When my own ‘Hokusai’ film won a British Academy Award I moved on to set-up the ‘Animus Productions’ animation studio… a creative entity I led for a further 20 award-winning years. The film itself was inspired by the wonderful sketchbooks of Hokusai. When I saw them I realized that this artist was indeed a true animator at heart… he just didn’t have the knowledge or the technology to be one in his lifetime. I therefore sought to bring his drawings to life for him, as homage to his genius.”

Check it out:

(thanks cartoonbrew)

"Out of Africa" director Sydney Pollack dead at 73

Director Sydney Pollack, whose 1985 period drama "Out of Africa" won seven Oscars -- including Best Picture and Best Director -- died Monday afternoon of cancer. He was 73.

Pollack died at his home in Pacific Palisades in Los Angeles, surrounded by family, publicist Leslee Dart. Pollack had been diagnosed with cancer about nine months ago, Dart added.

The director's occasional acting appearances included a guest voice shot in the 2000 King of the Hill episode Peggy's Magic Sex Feet.

In it, Pollack portrayed Grant Trimble, a bogus doctor who tells Peggy that her size 16 feet are responsible for her athletic ability and professional success. He then persuades her to make an "educational video" to help other large-footed women find acceptance. Unknown to Peggy, Trimble actually is photographing her feet for a sex fetish Web site.

Pollack's 20 films received 46 Academy Award nominations, including two for Best Picture. Last fall, Warner Brothers released Michael Clayton, of which Pollack was a co-producer and cast member (as law firm boss Marty Bach). The film received seven Academy Award nominations, including Best Picture and Best Actor (George Clooney). Tilda Swinton won the Oscar for supporting actress.

"Sydney made the world a little better, movies a little better and even dinner a little better. A tip of the hat to a class act," Clooney said in a statement from his publicist. "He'll be missed terribly."

"Having the opportunity to know Sydney and work with him was a great gift in my life," Sally Field, who co-starred with Paul Newman in Pollack's Absence of Malice, said in a statement. "He was a good friend and a phenomenal director, and I will cherish every moment that I ever spent with him."

He won the New York Film Critics' Award for his gender-bending 1982 comedy film Tootsie (starring Dustin Hoffman), and the David di Donatello Award for Three Days of the Condor, starring Robert Redford. Pollack put in a role in Tootsie as Hoffman's exasperated agent.

The American Film Institute voted Tootsie the #2 comedy of all time, and The Way We Were (starring Redford and Barbra Streisand) and Out of Africa are in the AFI's top 100 Romantic Films of all time.

In accepting his Oscar for best director in 1986 for Out of Africa, Pollack commended best actress nominee Meryl Streep. "I could not have made this movie without Meryl Streep," Pollack said. "She is astounding -- personally, professionally, all ways."

He received the Golden Globe for Best Director twice, the National Society of Film Critics' Award, the NATO Director of the Year Award, and prizes from the Brussels, Belgrade, San Sebastian, Moscow, and Taormina Film Festivals.

As an actor, he appeared in Woody Allen's Husbands and Wives, Robert Altman's The Player, Robert Zemeckis's Death Becomes Her, Steve Zaillian's Civil Action, Stanley Kubrick's Eyes Wide Shut and Roger Mitchell's Changing Lanes. On television, he guested on the sitcoms Will & Grace (in an occasional recurring role as Will's father) and Mad About You.

He formed Mirage Productions in 1985. Under that banner, he produced Presumed Innocent, The Fabulous Baker Boys, White Palace, Major League, Dead Again, Searching for Bobby Fisher, Sense and Sensibility, The Talented Mr. Ripley, The Quiet American and Cold Mountain. In 2000, writer-director Anthony Minghella became a partner in Mirage Productions.

Sydney Irwin Pollack was born on July 1, 1934 in Lafayette, Indiana to first-generation Russian-Americans: David Pollack, a pharmacist and professional boxer, and the former Rebecca Miller. He grew to love theater in high school in South Bend. Instead of going on to college, he moved to New York, enrolling in the Neighborhood Playhouse School of the Theater.

On September 22, 1948, he married Claire Griswold, an architect.

He became a director after appearing in several 1950s Broadway productions.

In 1986, the French government awarded him the medal of "Commandeur dans l'Ordre des Arts et Lettres."

Pollack served twice as a member of the jury at the Cannes Film Festival and once as the jury's president.

In 2000, he was awarded the Directors Guild of America John Huston Award by the Artists Rights Foundation.

"Sydney let the dialogue and the emotion of a scene speak for itself. Not given to cinematic tricks, his gentle and thoughtful touch and his focus on the story let us inhabit the world he created in each film," said DGA president Michael Apted.

Pollack was a founding member of the Sundance Institute, the Chairman Emeritus of the American Cinematheque, a founding member of the Film Foundation, and a board member of the Motion Picture and Television Fund.

A son, Steven, died in a 1993 plane crash.

Besides his wife, Sydney Pollack is survived by daughters Rebecca (a film executive) and Rachel; brother Bernie, a costume designer; and six grandchildren.

4th Incredible Hulk Clip Online

A fourth clip from Marvel Studios' The Incredible Hulk is now online! You can watch it in High Definition QuickTime here.

In related news, Kmart has launched a tie-in site where you can purchase items and enter a contest to win "incredible" prizes!

The Incredible Hulk, directed by Louis Leterrier and opening in theaters on June 13, stars Edward Norton, Liv Tyler, Tim Roth, Tim Blake Nelson, Ty Burrell and William Hurt.

The Incredible Hulk: A Smashing Sampling of Scenes

In a spacious screening room on the Universal Studios lot, the French-born action film director Louis Leterrier (Transporter 2) is brimming with energy; Marvel Studios president of production Kevin Feige, fresh off the spectacular success of the studio's latest effort Iron Man, seems relaxed and confident; and legendary producer Gale Anne Hurd ("The Terminator" films) plays the congenial hostess as they invite a small contingent of online reporters to get comfortable in the screening room's plush seats.

The filmmakers' collective mood is decidedly upbeat, a good sign considering that earlier in the day they unspooled the finished version of their current collaboration before the Universal brass for the very first time, and now they're about to unveil some tantalizing film clips to a select group of Internet press. The lingering question: after a disappointingly received first film helmed by no less a talent than Ang Lee, and persistent talk of a simmering behind-the-scenes rift between Marvel and the latest top-flight thespian to get superheroic over his creative contributions to the film, will the not-quite-a-sequel The Incredible Hulk actually SMASH box office expectations?

And based on what Hype! saw in the roughly 15 minutes of footage previewed, if the filmmakers' promised mash-up of the tortured, on-the-run, Jekyl-and-Hyde hero of the '70s TV series and the balls-out gamma-powered beat-downs of the comic book incarnations – classic Lee-Kirby, contemporary Loeb-Sale, and cutting-edge Millar-Hitch versions chief among them – is as effective as it is intriguing, there's every reason to believe ol' Jade Jaw may be reeling in giant fistfuls of green at the Cineplex.

Sneak Peek #1: First up was the film's opening credit sequence, which Leterrier explained was crafted with editing by Cal Cooper, who's previously assembled the various Marvel "flip-books" that adorn the studio's title card before each of its productions as well as credit sequences for the "Spider-Man" films and the "History of Stark Industries" documentary film that appears in Iron Man.

What unfolds is a visual Cliff Notes version of the origin of the Hulk, with Edward Norton assuming the role of Bruce Banner – though given the credit sequence's penchant for playing tribute to visual cues inspired by the TV series, it feels more like David Banner, especially when Norton is seen sitting in an oversized sci-fi-style chair that looks exactly like the one Bill Bixby used to bombard himself with gamma rays back in 1978. The 2003 film version is never specifically invoked, demonstrating that this Hulk is a not-so-subtle do-over (and for those wondering: no, Norton does not receive any writing credit in the edited sequence we saw, with screenplay honors going solely to Zak Penn). Most intriguing of all, the lightning-quick edits reveal all kinds of intriguing Marvel iconography, including references to Iron Man's Stark Industries.

Louis Leterrier: It's important to make people understand that this is definitely not a sequel. This is the reboot. It's kind of weird to call it a reboot, because people are also expecting to see the same thing that was served to them the first time: the big origin story that takes 40 minutes, and then after 40 minutes you see The Hulk…We decided to take everything, all the storytelling, the backstory-telling and compress it and make the credit sequence explain everything, to make it very graphic. It's literally an homage to the TV show, which I love.

Kevin Feige: When Edward [Norton] came onboard, we were considering early on a sort of don't-ask-don't-tell policy: people who wanted to think that it was a sequel could think of it as a sequel, and people who wanted to come in off the street and had never seen the first one can enjoy it as well. Actually, it was Edward: one of the things that he did in his polish, in his rewrite, was to firmly establish a unique origin which actually dovetailed perfectly with what we were trying to do at Marvel, which is create individual franchises that can live and breathe on their own, but as you've already seen in the first three minutes of this, can interconnect with each other for people who want to see a bigger picture. In going back to a unique origin with Banner allowed us to weave in some of these other elements that might or might not pop up in future Marvel films.

When asked to clarify if the Hulk's origin was more similar to the heroically-motivated comic book version (in which Banner is exposed to gamma rays in his heroic attempt to save the life of a teenager who's unknowingly wandered into the bomb test site) or the pushing-the- boundaries-of-scientific-knowledge television version (which has Banner accidentally dosing himself with unexpectedly high levels of gamma rays in a quest for temporary super-strength), Leterrier said the story actually draws from BOTH sources:

Leterrier: We sort of combined both in one event, the incident that was shown here and later down the line, explained by Ross. It's hard nowadays to do the old gamma bomb and to talk about that stuff. I like the sort of quest for knowledge…The contrast between this very intellectual and very intelligent human and this very brutal, not dumb, but primal creature. So I really wanted to use these different and opposite poles to qualify this hero and anti-hero.

Feige: The origin of this is mixed a little with Banner's origin and the Ultimate comics in the Ultimate universe, which ties into the Super Soldier program that we talked a little bit about at [New York] Comic-Con. So as the movie progresses you see a little bit of the angle that Ross had for the experiment and the angle that Bruce had for it - which are, of course, two very different angles…We meet [Banner] in Brazil where he's been living for an indeterminate amount of time, like in the TV series where he's taking odd jobs and going from place to place. In our film, we meet him and he's working in a bottling factory for reasons that become clear relatively soon. He's looking for ingredients that come in from the rainforest for this particular kind of soda that they make in this bottling factory.

Leterrier: Banner was hiding around the world and has been found. His quest for the cure has had to stop and he's raced forward to where he thinks the cure is. That brings him back to his old stomping grounds, the university that he used to work at. At the same time [Emil] Blonsky – who's played by Tim Roth in the movie – is a soldier who's kind of at the end of the road, physically. He was a soldier's soldier. He's older than the young soldier or commando, but he's never accepted going behind a desk and getting a bigger rank or a bigger salary. He just loved the field... Basically he sees Hulk for the first time and Ross explains to him that the thing he just saw was a human, was Banner, and he thinks, "I want that. I want to be able to fight that. This is the perfect enemy. I've never met an enemy that was worthy of me. I want to be capable of fighting this thing." So he's injected with a Super Soldier serum and he's going to be able to fight him.

Feige: It's a derivative and an intent to duplicate. It's not the actual Super Soldier serum, if you want to be technical.

Sneak Peek #2: The filmmakers next revealed a critical sequence in which Hype! got its first substantial look at how the Hulk will be depicted on screen this time around. In a tense, briskly paced scene, General "Thunderbolt" Ross (played by William Hurt) and a well equipped military platoon have Banner cornered on what looks to be a college campus, even as Banner's love interest and Ross' daughter Betty (Liv Tyler) frantically pleads with her father to back off.

Trapped in a glass-encased bridge between two buildings, the panicked Banner is gassed by the soliders and has his anger stoked as he sees Betty being roughed up as she struggles to come to his aid. Just as Banner disappears into the smoke of the grenade, his eyes suddenly turn that pale green shade, signaling his imminent TV-style transformation. After a few suspenseful moments an enraged Hulk emerges fearsomely from the gas cloud, smashing through the glass to face down the military.

The CGI Hulk is a pretty spot-on recreation of the classic comic book image and not too far removed from the version seen in the Ang Lee film, although more consistent in size and scale and featuring a great deal more detail and nuance in the rendering. In the extensive action sequence, the Hulk brings the full brunt of his fury down on the Army, demonstrates his noble side when he uses his great mass to protect Betty from a sea of flame and faces down with Ross' minion Emil Blonsky (Tim Roth), who fearlessly – and futilely – attempts to go mano-a-mano with the Green Goliath.

Of particular note was the way the camera followed the Hulk during the action. While there was a brief glimpse of dynamic "money shots" that relied on some stylized visual gimmicks, for the most part the camera followed the Hulk as if it were shooting documentary-style, with bumps, shakes and losing details to the frame, capturing the raw power and mayhem that erupts whenever the Hulk is present – though not as stomach-flipping as the camerawork in Cloverfield, the often shaky, unsteady visual treatment imparts a subtle and effective sense of grounding to the action.

Leterrier: I really love the [first] movie. When they called me I thought it was to do the sequel, and I didn't know if I could do it. So I've tried to make it very different. You still have to make it 'Hulk versus the Army' because that's one of the iconic things in the comic book. So we had to think about different ways to do that. The Blonsky approach, the human-size battle, was interesting… One of the things that I think wasn't really working in 'Hulk I' was the size ratio, the fact that he was growing and shrinking and the decision to put him in the desert made him scale-less. So here I really wanted to put him in a real human-scaled kind of element using these big Humvees as weapons and these shields that they create out of sculpture and stuff like that. If you look at it, most of the time when he's in the frame there's a human next to him or behind him or right in front of him so that you can see the ratio and the size difference… Our movie is a bit more brutal or more primal in the way that we approach the fights. He doesn't think. He just reacts. He's reactive at first and then you'll see down the line when he fights [The Abomination] he's actually become a hero and is actually thinking about things.

Feige: I think the movie's style, too, is different. It's a kinetic camera. A lot of it is handheld and a lot of is the camera floating and trying to grab Hulk which I think helped integrate Hulk into his environment as opposed to shots that are very static or very flowing.

Leterrier: I made sure that we'd shoot Hulk the way that I'd shoot Jet Li for example, like trying to find as a camera operator the guy. Jet Li is fast. Imagine though how fast the Hulk is and how big he is. So we wanted the camera operator to pretend to be not to be too perfect in the way that they operated it… Whenever I approach an action scene I imagine it at first and I storyboard it and I say, "Okay, do it." You've got the human limits of that when you come to the set and you have to adjust to that and so when Jet or Jason [Statham] do their stuff, I have to go, "I thought Jet, you could do a double jump in the air. Okay – You're 45; You can just do a little jump. I'll frame the camera here." So here I just did the same approach with the storyboard and pre-viz and off you go. But you have no limit. You have to tell your cameraman that they have their limits. They have to be surprised by it. Sometimes, literally in the one where he jumps up and does the double move he comes out of frame on purpose, like the guys just couldn't keep up with him.

Sneak Peek #3: While not as stylish and central to the film as either of the clips that preceded it, the third snippet of film prompted the biggest smiles from the journalists: the scene featured a cameo appearance by Lou Ferrigno, the powerhouse physique behind the TV Hulk, sharing the screen with Norton in a lighthearted scene we're not quite ready to spoil (also making confirmed cameos in the film: Marvel founding father and Hulk co-creator Stan Lee in what's promised to be the most plot-relevant of his many walk-ons in Marvel films; and, as has been widely reported, Robert Downey. Jr. as Tony Stark).

Leterrier said that he took Ferrigno up on his impromptu audition at the New York convention to voice a handful of lines of dialogue for his emerald alter ego and had recently had the bodybuilder-turned-actor into the studio to record the lines. It's all in service to the director's tribute to the show he loved as a youth.

Leterrier: My emotional entry point to "The Incredible Hulk" was the TV show. That's why this is so heavily based in the beginning at least on the TV show. Growing up in France the comic book, the "Hulk" comic book wasn't as widely distributed as it was here. So my first exposure to Hulk was on TV when I watched the show. I was born in '73 and so it came on like two or three years later here, and by the time I was seven it was the biggest show in France. I love how emotional both Bixby and Lou Ferrigno were, their performances were, on the TV show. So that was my emotional entry point.

Indeed, the director said he hadn't actually taken a look at the comic book adventures of the character since his childhood in Paris, and was ready to dig into the character's publishing history for further inspiration. He quickly found it.

Leterrier: I went to Silverlake to this little tiny comic book store and the only one that they had was the Tim Sale and Jeph Loeb book ["Hulk: Gray"], which is super-stylistic but very simplistic in its approach. It's a basic approach to the Hulk and super-emotional. That thing is beautiful. It's poetry – It's like comic book poetry. I read it and devoured it. I said "These guys were amazing!" I said, "Kevin, this is what I want to do." There are actually literal scenes in our movie that are homages, panel after panel homages to this comic book. So I love it just because it is so emotional. It's like "Beauty and the Beast." It's "Frankenstein." "King Kong." All of these. We love these monsters because they're scary, but deep inside they have a heart of gold and are so pure and simple. That's what I wanted to do and that was the emotional journey that I wanted the audience to experience because it's been mine forever.

Feige: This really is the merging of the pathos of Banner from the television series, the spectacle and smash of the Hulk from the best of the comics - "Hulk: Gray" by Loeb/Sale is the link between them. Even in the scenes you're talking about panel-for-panel is the centerpiece for the film and it sort of links the two stories.

Leterrier: Exactly. It sort of bridges one with the other, the TV show to the comic.

Sneak Peek #4: Finally it was onto to an entirely different screening room just a few buildings away for our last look at the film – a far more high-tech arena with a mind-blowing sound system and a crew diligently putting final tweaks onto the sequence amid a smattering of Hulk toys on their consoles. And once the scene began to play out, it was clear why the filmmakers wanted to show the sequence in the best possible light: it was the beginning of a major action set piece in which the Hulk and the Abomination – a gamma-transformed Blonksy – throw down right in the busy center of a major metropolitan city.

The sequence begins with Betty desperately trying to persuade Banner not to make a potentially fatal leap from the military plane that's ferrying them over the skyline in hopes that the peril will awaken the creature within him. Norton delivers the goods when, as Banner, he explains that it's a risk he has to take – only the Hulk has the power to confront the Abomination. Putting his fate in the Hulk's hands, he nobly launches himself from the plane and plummets toward the cityscape below – but, to his horror, no transformation seems imminent. We get a glimpse of Banner's panic when suddenly he rockets to the ground and smashes though the street. As the Abomination continues his savage rampage, all seems lost, until a familiar green fist crashes through the pavement.

And then the battle begins...

I asked Leterrier just how much of a balance he was striking between Banner's character-driven story and the all-out action of the Hulk, recalling that on the TV series viewers were lucky if they saw the monster twice an episode for more than five minutes at a time due to the budget restraints of '70s television, with the bulk of the show following Bill Bixby's "Fugitive" style arrivals and exits into a new town. The director looked at me straight-faced and said that for this film, "the balance is the same." Then he laughed.

Leterrier: No, no – Like you said, there were budget limitations. I was frustrated when I saw Ang's movie that I didn't get to see the Hulk for 40 minutes. So the first thing that Kevin told me was that we needed the Hulk soon in the movie – not right away, because that would be weird, but soon enough so that the audience doesn't get that restless feeling 40 minutes into the movie. When you see Hulk you really see him. You don't want to make the first action sequence where you see him perfectly and then afterwards it's just the same old fight. Once again, in a Jet Li movie you don't want him to fight the same guy over and over and over again until the big fight at the end. We just made it very different so that at first you sort of don't see him and then you see him much more here, and then at the end you see him in that whole big battle. Also, Hulk is very, very important, but his enemy is as important as Hulk, because that's the threat that he has. He's got a threat within himself that Bruce Banner is trying to get rid of, but the enemy at the end is what's here. So we saved as much money as we could to give the biggest bang for your buck at the end, the biggest bar brawl in history through the streets of Manhattan between these two monsters. We were very conscious of this and we were being very cautious to not spend too much up front so that we could save for the ending. The ending is big.

The filmmakers also indicated that, much like the approach to Iron Man, The Incredible Hulk has definitely been planned as the first in a continuing series of adventures for the Jade Giant – even if he isn't the sole headliner of future films. They've also sprinkled the seeds for some of those future outings – think the Hulk's massively forehead nemesis The Leader – and are looking forward to bringing the massive sandbox that is the Marvel Universe to the cinema.

Feige: I don't know about a trilogy, but certainly an ongoing saga and as the crossovers continue, I think the Hulk could pop up perhaps in other Marvel movies as well… We're setting up a lot of things. Sam Sterns played by Tim Blake Nelson – Tim has done an amazing job. Some of the TV spots that have just started in rotation have some fun bits with him in them as well. He's great. He's excellent in the movie. I'd love to see him come back, and those who know what happens to Sam Sterns, it stands to reason that that might occur. He's not a villain in this film, at least not as far as we can tell. He's quite an affable guy that's legitimately, you think, lending a hand to Bruce Banner.

Leterrier: Obviously it's my first Marvel movie and so I was really excited to have access to this vault and references and for the movie and comic book fanatics I wanted to have as many possible winks and Easter eggs here and there. So keep your eye open throughout the movie, because there's tons of stuff.

The Incredible Hulk opens in theaters on June 13.

Witchblade Teaser Poster and Site Revealed

A couple of weeks ago, Platinum Studios announced they are bringing Top Cow's comic book franchise Witchblade to the big screen. While no actress has been announced for the lead role, the company has already released a teaser poster and has launched a teaser site for the film. The comic book introduced the "Witchblade" mythology, which centers on an ornate jewel-encrusted gauntlet that gives extraordinary powers to the wearer, a specially chosen female from each generation.

As The Wrench Turns

Here’s something to note. Inspired by the NPR radio show Car Talk, PBS has created its first prime time animated series, Click and Clack’s As The Wrench Turns.

The animation is by CTTV, a new independent studio. Bill Kroyer and Howard Grossman are the producers, Stephen Silver (Kim Possible) designed it and Tom Sito directed the entire season. Ten episodes were produced and they begin airing on July 9th at 8pm. The program’s website contains only a brief promo clip, but I’ve been told it will be updated with more stuff very soon.

(thanks cartoonbrew)

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