TIME movies

Could a Fourth Mighty Ducks Film Actually Happen?

The cast of the first 'Mighty Ducks' films with producer Jordan Kerner (kneeling). Jordan Kerner

Here's what cast members from the original films had to say about the possibility of another sequel

Jordan Kerner, producer of the Mighty Ducks trilogy made a splash in TIME’s oral history of the franchise when he revealed that Disney is interested in producing a fourth installment of the beloved hockey series, assuming that a compelling new story line materializes. While we published 12,000 words and several galleries on the films, some material wound up on the editing room floor, including what former cast members thought about the possibility of a fourth film. For those hungry for a hint at whether it’ll ever happen, here’s what they had to say:

ELDEN HENSON (Fulton Reed): You know, it’s not something I’ve really thought about, but I would absolutely do it. I owe a lot to Jordan [Kerner] and Steve Brill, who wrote the movies. I mean, they really sort of kickstarted my career and allowed me to do a lot of things. And these movies allowed me to pay for my own college. So I’m extremely thankful and would always go back.

MATT DOHERTY (Les Averman): I have a feeling that that would be well-received and it would make a lot of sense. I could totally see a full circle on that — somebody maturing into a Gordon Bombay-like role themselves. I could see it making sense from every point of view. I have a feeling that people would probably really receive it well because it’s still around.

MARGUERITE MOREAU (Connie Moreau): Well, I think if they were to do another one, you know, whether it was us playing or our kids playing, you just couldn’t lose the underdog story. That whole idea of “struggle is a part of life but it’s also the most rewarding part,” kind of keeping that working class feel to it that I think is the real heart of the first movie would be so cool. That’s the thing I think a lot of people respond to, plus the amazing, amazing hockey plays, like the Flying V. The Flying V still gets a lot of love on Instagram.

SCOTT WHYTE (Gunnar Stahl): Oh, I’ve thought about it, and I would be there in a heart beat if I was ever asked. In a perfect world, I would love to see a fourth movie like all these years later now. I mean it’s kind of like what can we do? What would be a cool concept? And I’m not even thinking with me being part of it, though of course I would love to be part of it. I was taking a shower in the morning, going, “Man, what if Gunnar came back? The kids hadn’t played hockey in years, and all of a sudden — for some reason, for a charity event — I don’t know what. But some of them went pro and others didn’t. I don’t know. But they got the old team back together. Then all of a sudden maybe they bring the foreign exchange student kids. You know, somehow I get involved.” It would be actually so great to see all these years later, to see the whole family back together and to do this again. And to get on the ice again one more time. There would have to be a good storyline obviously and would have to make sense for them to do it. But I would also think that for nostalgic reasons and just to be able to go out there and do it again, I think it would be an amazing experience. Because you never know. Actually there was talk during Ducks 3, they had said, there’s a chance we’re going to be doing Ducks 3 and Ducks 4. A TV series was a concept for awhile that was being thrown around. And they ended up creating the Mighty Ducks animated series, which obviously wasn’t related to the movies, but I think what I had heard was that it was either going to be Ducks 3 and Ducks 4 movies that were going to be kind of back-to-back or it was going to be Ducks 3 and then go into a TV series. And then when the cartoon came out, I just thought, “Okay, they probably just did Ducks 3 and then the animated show and that fulfilled the Mighty Ducks package or the prophecy or whatever they needed.” But man, Ducks 4 — I would totally be there in a heart beat.

CARSTEN NORGAARD (Wolf “The Dentist” Stansson): Over the years, I’ve heard rumors of it. And it’s kind of interesting, with the impact that it has had on so many kids, that a fourth hasn’t been made — or a TV series hasn’t been made of it. But it’s a good trilogy as it is. But other than rumors, I don’t know any more about it. I can tell you that when I left the Ducks, I got all my gear and my skates and everything in a big, beautiful ice hockey bag, and it still sits in one of my closets ready to go.

TIME celebrities

George R.R. Martin Is Now On Twitter

All Men Must Tweet

Game of Thrones writer George R.R. Martin joined Twitter Tuesday—shifting mediums from 864-page, seven (maybe eight?) part book series, to the svelte 140-character-or-less genre.

Martin’s first tweet warned fans not to expect to much social media action:

(The live journal bit is not ironic—the author is very active on the older, more literary-inclined platform).

In spite of his warning, we still hope he live-tweets GOT episodes.

TIME celebrities

Now You Can Take an Online Screenwriting Class with James Franco

James Franco at the Los Angeles premiere of 'Palo Alto' on May 5.
James Franco at the Los Angeles premiere of Palo Alto on May 5. Eric Charbonneau—Invision/AP

The actor says he's "equipped as any" to teach the next generation of screenwriters the tricks of the trade

That’s Professor Franco to you. The actor and nude-selfie aficionado has taught in the English departments at renowned universities such as UCLA and NYU, and now he’s taking his classroom online with a $25, self-paced course opening today on the online learning site Skillshare.

Co-taught by Franco’s acting-school buddy Vince Jolivette, with whom he co-founded Rabbit Bandini Productions, “Introduction to Screewriting for Short Films” is a 90-minute, 15-lesson program that draws on the duo’s own years of experience and walks aspiring screenwriters through every step of the process, from conceiving ideas to pitching investors.

“For this class, we’ll be working on adaptation,” Franco says in the trailer for the class. “It’s a great first step, and what’s really exciting is when we all work on similar material, because then we start to learn from each other.”

Students will adapt one of three works — The Spoon River Anthology, Pastures of Heaven or Winesburg, Ohio — to create an 8-minute screenplay. Franco and Jolivette will read the 10 most up-voted screenplays on Skillshare and offer individualized feedback on their favorite.

“There’s part of me that also thinks of my younger self, who wasn’t in those film programs, because I really get excited by the idea of being able to share some of our experiences and lessons,” Franco says. “I think I’m as equipped as any.”

TIME e3 2014

Interview: Shigeru Miyamoto Explains Nintendo’s Star Fox Rethink and His Unusual New Wii U Games

Nintendo's Shigeru Miyamoto demonstrates the new control scheme in Star Fox for the Wii U. Nintendo

The creator of some of Nintendo's most iconic characters and beloved games pulls back the curtain on his top-secret Wii U projects, and explains his rationale for radically reinventing the control scheme for his new Wii U-bound Star Fox.

Update: 1:00pm.

Behind closed doors, surrounded by half-emptied pallets, whizzing forklifts and all the chaotic scaffolding and hustle of E3 2014’s pre-show preparations, the creator of Donkey Kong, Mario, Zelda and more drew back the veil Sunday night on some of the experimental work he’d alluded to years ago when he told Wired he was shifting gears to work on smaller, more personal projects.

In one of the games, which Miyamoto called Project Giant Robot, players control sky-scraping automatons, angling the Wii U GamePad in front of a TV screen while shifting their torsos left and right or up and down to maneuver the robot’s upper-body while thumbing the controller’s joysticks to punch or grab — almost like a full-body game of Rock ‘Em Sock ‘Em Robots. The GamePad shows you what the robot sees, while the TV screen offers a zoomed-back view, letting onlookers — as well as you — admire your tromping, pummeling handiwork.

In another, titled Project Guard, the GamePad became a quick-jump map of a fortress manned by numbered, laser-firing security cameras. As robots encroach on different entry points, you have to tap the GamePad to leap from camera to camera, blasting enemies that trundle or come at you sprinting — even some that sneak under your radar. All the while, onlookers can shout out the numbers that correspond to robot-threatened camera feeds, turning your defense operations into a frenetic, heart-racing, tap-and-fire scramble.

And the third project? A game Nintendo fans have been waiting for a very long time to see: Star Fox is back, only reimagined on the Wii U using Miyamoto’s new GamePad-based controls — controls that’ll ask of players things they’ve never had to do before in a video game. Whether they’ll come willing or balk remains to be seen, but Miyamoto is convinced he’s on to a control scheme that’s not only novel, but with practice, indispensable.

In his new version of Star Fox — still fundamentally a spaceship-based shooter — players now use the GamePad’s motion controls to aim and fire the Arwing’s weapons, simultaneously controlling the nimble craft itself by thumbing the joysticks to accelerate or turn and pull off signature moves like barrel rolls, loops and the tactically essential Immelman turn. And you can still morph your Arwing into a land tank, rocketing down to the surface of a planet, then rattling around the battlefield and laying waste to the landscape.

But Miyamoto and his team have added a new vehicle mode, one that’s designed to exemplify the new motion control scheme: It lets up to two players pilot a helicopter-like craft, one player controlling the helicopter itself, the other controlling a tiny robot you can drop from a tether to roll around a limited area, either snatching up booty or blasting enemies. Leave the robot hanging as you fly around the battlefield and it becomes a kind of dangling, swingable cannon.

Project Giant Robot and Project Guard are still considered experimental at this point, and Star Fox is at least a year away, but I had a chance to sit down with Mr. Miyamoto after trying all three. Here’s what he told me.

Which came first in the development cycle, Project Giant Robot, Project Guard or Star Fox?

Shigeru Miyamoto plays Project Giant Robot, using the GamePad’s motion control sensors to move the robot’s torso. Nintendo

We started work on all of them at about the same time. For Project Giant Robot we started earlier, then left it and came back to it, but all of them went into development at around the same time. Typically when we’re developing, we have a lot of different experiments that we’re working on. So these started off as experiments, but they all went into full development around the same time.

Whenever we create new hardware we do some experiments with it, but on Wii we didn’t release any Star Fox games, so we took some of the experimentation that we’d done and the assets that we’d used then and used them for the experimentation we were doing with the Wii U.

Would it be fair to see Project Guard as partly a riff on the tower defense genre, where you’re making your defense preparations then defending from attackers that advance in waves?

We didn’t really think of it from a genre perspective. Project Guard was one that we actually began experimenting on back in the Nintendo 64 era, around the time that we were doing things with the original Luigi’s Mansion. But on the N64, we didn’t have enough processing power to bring the game to life. So we set it aside, and then we came back to it on Wii U, and particularly with the Wii U GamePad, it made the interface much more intuitive. So we decided to then bring that project back to life on Wii U. We didn’t take into account any current genres in designing the game.

So when we were actually trying to think up a genre name for Project Guard, what we decided on was just that it’s a new genre. With every game we think about how to describe it, but in the case of Project Guard, we decided this is a new genre.

In the game you can place cameras before initiating the robot assault. I only had a few minutes to fiddle with this during the demo, but I’m not sure I would’ve figured out how to optimally position those cameras even if I’d had more time to. Do you intend to teach the player, somehow, so they’ll know or be able to learn how best to position the cameras?

I don’t know if this is the correct answer to what you’re asking, but if you noticed at the end of the match on the GamePad, there was a display that showed where the enemies came out and when they came out, and it showed you which enemies got to the middle of your base. That screen is set up in a way that’s very easy for players to edit the patterns themselves.

So you can play in the same maps over and over again, and create your own enemy patterns for a single map. And so then, as you’re playing, the more you play the game, the more you learn with each different pattern of enemy attacks where the best camera placements are.

How long have you been working on the new Star Fox game?

We originally began working with Star Fox back on Wii, and we had a small group of people experimenting with it for many years, maybe about six years, but we didn’t find an idea that really brought that together for the Wii. So instead we moved experimentation to the Wii U using some of the same assets. It’s been maybe 6 to 10 months that we’ve been experimenting with it.

One of the things that stood out to me about the new Wii U and GamePad functionality in Project Giant Robot and then Star Fox is that you’re having to execute two or more maneuvers in 3D space simultaneously, moving the GamePad to aim and the control sticks to maneuver. It took a while to get used to, and I’m still not sure I got it. Is there an intentional learning curve there?

Yeah, I think that’s safe to say. When we were developing a game, I wind up playing it for many hundreds of hours, and so because of that, I tend to get a little further away from the experience people have when they’re playing it for the first time. But that’s something we always pay attention to when we’re developing the game, and in this case I think Star Fox will be a game you spend a little bit of time getting used to the controls, but that once you do, then you’ll understand what’s fun about that experience.

I don’t think it’ll take a lot of play time for people to get used to it. For most people, it’ll take maybe 30 minutes to an hour. So from that standpoint it’s not a game that’s particularly well-suited to displaying at a show like this, where you only have a short amount of time to play, so that’s why we held the event yesterday, to get everyone in to play for a longer period of time than they might normally.

Shigeru Miyamoto plays Project Guard, defending his fortress from attacking robots as NOA president Reggie Fils-Aime indicates attackers. Nintendo

And then I also think that for a lot of people, they don’t have experience playing this sort of dual-screen gameplay, where you’re aiming with motion control and playing across two screens at once, so that also is maybe taking people a bit longer to get used to. But I look at video games as something that people who play them… One of the thing they enjoy is learning the controls, learning to master the game. And once they do, that sort of opens it up for them, they’re thinking about, “Oh, what’s this play style?” And then as they get deeper and deeper into the game and get better at it, they feel that sense of accomplishment having mastered it.

And then once you get used to the play style… I didn’t go into this detail the other night because it starts to get a little bit complicated, but once you get it, you’ll also be able to press a button to switch the view from one screen to the other. So you could play with the cockpit view on the TV and the fighter view down on the GamePad screen if you feel like that’s a better way to play.

With the 3DS, you can see both of the screens easily at once. With the Wii U, you often having to look from one to the other. There’s a lot of visual information to process in these new multiscreen Wii U games.

With Star Fox, one thing we’re doing is to make the game feel like you’re piloting your own aircraft. And so in that sense, probably initially one of the best ways to play is to have it up in front of you, in your line of sight from the TV. But also as I’ve been playing Star Fox more and more, what I’ve noticed is that it gets easier to play the game looking at the TV with the GamePad down. So as you get better, you’re gradually able to depart from holding it up.

What inspired Star Fox‘s new helicopter vehicle?

With the helicopter, we’ve been thinking of the two-screen gameplay, and so that was one of the early ideas. One of the things we’re considering at this point is making the helicopter so you could have two pilots, two people playing together, and what that’ll allow is you could have one player piloting the helicopter, and another player who’s using another controller to control the robot.

In the case of the Arwing spaceship, if you have two pilots, they’re most likely going to be sitting front-to-back, and you’ll have one piloting, the other able to look around. When you have someone piloting but someone else who can look around, what’s most beneficial to the person who’s looking around is the ability to look down below. In designing the Arwing we couldn’t quite think of a good way to have to redesign it so you’d have one player who could look down below. Thus we decided to create the helicopter.

You said at the event that all of these games might be related. In what way? As part of a single Star Fox game? Or as something more multiform and arcade-like, like Nintendo Land?

Honestly I don’t have a clear idea myself yet, but one thing I’m thinking is that with this Star Fox we may take a different approach, so that rather than one big title we have multiple releases that are connected through different missions. If I was to describe the Star Fox series up until now as being sort of a movie series, I guess I’d describe this new approach as something that’s more like a TV series for Star Fox.

Update: Due to a production error, this article was temporarily published ahead of an embargo.

 

TIME celebrities

James Franco Wrote a Short Story About Not Sleeping With ‘Lindsay Lohan’

"Liz & Dick" - Los Angeles Premiere - Arrivals
LIndsay Lohan arrives at the "Liz & Dick" Los Angeles Premiere Steve Granitz—Getty Images

Fact or fiction?

Actor/director/PhD candidate/Instagram ingenue/author James Franco wrote a short story about a character named “Lindsay Lohan” for Vice’s new fiction issue.

While the piece, titled Bungalow 89, might purport to be fiction, career details, character names, and a photographs of Franco sprinkled throughout the piece indicate otherwise. The story actually reads like a tell-all explaining that Franco has refused time and time again to sleep with “Lohan”—even though she totally wanted to.

With narcissism at an all-time high, the story consists of Franco pitying, condescending, and benevolently educating the wayward starlet in the writings of Salinger and lessons of self-control:

Once upon a time a guy, a Hollywood guy, read some Salinger to a young woman who hadn’t read him before. Let’s call this girl Lindsay. She was a Hollywood girl, but a damaged one. I knew that she would like Salinger, because most young women do.

Here are key passages in which Franco makes sure everyone who is reading knows that he really and truly never now, then, or ever has had or wanted to have sex with Lohan. Not when she tried to break into his room:

There was a Hollywood girl staying at Chateau Marmont. She had gotten a key to my room from the manager. I heard her put the key into my front door and turn it, but I had slid the dead bolt and that thing—I don’t know what you call it; it’s like a chain but made of two bars—that kept the door from opening.

She said, “James, open the door.”

She said, “Open the door, you bookworm punk blogger f*****.”

Not when she tried to booty call him:

My phone rang. She let it ring until I answered.

“You’re not going to let me sleep, are you?”

“Do you think this is me? Lindsay Lohan. Say it. Say it, like you have ownership. It’s not my name anymore.”

Lindsay Lo-han.”

“I just want to sleep on your couch. I’m lonely.”

“We’re not going to have sex. If you want to come in, I’ll read you a story.”

“A bedtime story?”

“It’s called ‘A Perfect Day for Bananafish.’”

Not when she was cuddling up next to him in bed:

Now we were lying in bed. I wasn’t going to f–k her. She had her head on my shoulder. She started to talk. I let her.

Not even that time a few years ago when she was high at New York club Bungalow 8 and dragged him into the mirrored bathroom to have sex:

“He didn’t f–k me, that s–t. And what was he doing there anyway? On my night. My night with Meryl, my night when everything was right, when I got everything I wanted. Almost.”

But he does wish her well in her time of need!

I ran my fingers through her hair and thought about this girl sleeping on my chest, our fictional Hollywood girl, Lindsay. What will she do? I hope she gets better. You see, she is famous. She was famous because she was a talented child actress, and now she’s famous because she gets into trouble. She is damaged.

TIME celebrity

Taylor Swift Made Her BFF Ed Sheeran a Drake Needlepoint

Friends forever!

Sparkly songstress and walking summer camp craft tent Taylor Swift recently did what all good friends do: she made a Drake-themed needlepoint for her best dude friend, fellow singer Ed Sheeran.

And Sheeran did what all best buds who receive a Drake-themed needlepoint do: he framed it, hung it on his wall and showed it off in the upcoming MTV documentary, “9 Days and Nights of Ed Sheeran.”

Later, the two made matching gimp bracelets and braided each other’s hair on a picnic blanket as the sun set.

TIME Late Night

Watch: Jennifer Lopez Challenges Jimmy Fallon to Tight Pants Dance-Off

The two wore matching white pants and crop tops

It’s not often that a superstar argues with a late night comedian about whose pants are the tightest in town. But that’s what happened on Monday night, when Jennifer Lopez, 44, challenged Late Night host Jimmy Fallon, 39, to a dance off… in a pair of tight white pants.

The pop diva sang: “I can swing my arms, I can shake my hips, I can dance down the block knowing I’m the only chick that’s wearing tight pants, and I’m the only one.”

This is not the first time that Fallon got into a dance-off, as the late night host got into a similar fight with Will Ferrell during a 2012 episode of Late Night.

TIME Music

Watch Lena Dunham Dance To Sia’s “Chandelier” on Late Night with Seth Meyers

The "Girls" creator donned a blonde wig and danced as Sia sang her hit song on Seth Meyer's show

On Monday night, Sia performed her hit song “Chandelier” — which happens to be one of TIME’s 25 best songs of the year (so far) — live on Late Night with Seth Meyers. Though Sia has typically performed the song with the video’s star, child dancer Maddie Ziegler, for her latest set she went with a different Girl – Lena Dunham.

While Sia lies face down on a bed and sings, Dunham performs a modern dance to the song about a girl who loses herself in partying. Though her lip-syncing leaves something to be desired, Dunham is a captivating presence on stage as she dons a Sia-inspired blonde wig and executes some serious spins.

Sia’s upcoming album, 1000 Forms of Fear, is due out July 8.

 

TIME Music

Paul McCartney Postpones U.S. Tour on Doctor’s Orders

JAPAN-LIFESTYLE-MUSIC-PEOPLE-MCCARTNEY-BEATLES
Paul McCartney (L) signs his autograph upon his arrival at the Haneda airport in Tokyo on May 15, 2014. TOSHIFUMI KITAMURA—AFP/Getty Images

"I’m sorry but it’s going to be a few more weeks before we get rocking in America again," said the singer, who is recovering from a viral infection

Paul McCartney has postponed an upcoming concert tour in the U.S., on the advice of his doctors, in order to recuperate from a mysterious virus the singer contracted in May while on tour in Asia.

The 71-year-old rock legend pushed back the opening date of his “Out There” tour from June 14 to July 5.

“I’m sorry but it’s going to be a few more weeks before we get rocking in America again,” McCartney said in a statement on Monday. “I’m feeling great but taking my docs’ advice to take it easy for just a few more days.”

The former Beatle was briefly hospitalized with an undisclosed viral infection while on tour in Japan last month, prompting a rare postponement of several tour dates.

TIME Fine Art

Google Project Aims to Make Street Art Immortal

Google Cultural Institute is taking street art off the walls and into your computer.

From murals in Atlanta to graffiti in Tunisia, Google’s Street Art Project, which launches Tuesday, preserves and gives Internet access to more than 5,000 photographic records of otherwise impermanent artwork.

Google Cultural Institute‘s director Amit Sood says the project’s mission is to turn the world into “one huge open-air gallery for everyone to enjoy.”

“These works of art that decorate our streets do not always hang about for long, which is why we’re delighted to work with partners around the globe to help them tell a story of street art around the globe,” Sood said, referring to environmental and societal elements that threaten to destroy works of art created in public space.

Street art is at once a celebrated and reviled pastime. From humble beginnings as a vandal’s crime in New York City, street art has evolved to become globally accepted. Artists like Shepard Fairey and JR have seen their work attract attention in political campaigns and high society. However, street art can still be considered vandalism in many cases in the U.S. and around the world. This was proven in last year’s destruction of the iconic 5 Pointz in Queens. The street art initiative by Google provides a safe haven for these masterfully creative works.

One of the most important features is that the images are shown in their natural habitat, so the viewer can truly understand the space the art creates (quite an improvement over putting a Banksy piece in an auction). Not only does Google’s street art project preserve street art for time immemorial, but it provides a window into another world of art spanning the entire globe.

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