A Writer's Life

More TV on the Big Screen

It seems like every week someone is dusting off an old TV show and developing it for the big screen. Last week it was TJ HOOKER, this week it's THE BIG VALLEY. Variety reports:

The 1960s television Western that starred Barbara Stanwyck is being adapted into an independent feature by Kate Edelman Johnson and Daniel Adams through their Panther Entertainment banner.

Adams will direct the pic from his own script, whose storyline was developed with series creators Louis F. Edelman and A.I. Bezzerides. Plot borrows elements from the show’s pilot and several episodes.

I don't see the point of reviving the show...it's not as if it has a huge following. It would make far more sense to give the big screen treatment to more well known TV westerns like GUNSMOKE, HAVE GUN WILL TRAVEL, or BONANZA (which BIG VALLEY essentially ripped off).

What's Next, Diagnosis Murder?

I can think of a lot of TV shows that would make great movies, but TJ HOOKER isn't one of them. But Variety reports that director Chuck Russell, writers Brent Maddock & S.S. Wilson,  and series creator Rick Husky are mounting  a big screen remake of the cheesy, 1980s  William Shatner series, which ran for four seasons on ABC. Hey, maybe they can get Chris Pine to play Hooker.

The Plan is Coming Together

Variety reports that the cast is shaping up for the big screen version of my buddy Steve Cannell's hit series THE A-TEAM. Liam Neeson is taken with the part of Hannibal (George Peppard's role) and Bradley Cooper is being wooed to play Faceman (Dirk Benedict's part). No word yet on who is being sought for the roles of Murdock (Dwight Schultz in the original) and "B.A." Baracus, played by Mr. T. Joe Carnahan is directing, and Ridley Scott is producing with Jules Daly and Cannell from a screenplay by Carnahan, Brian Bloom and Skip Woods.

 

Interceptors, Immediate Launch!

I may be psychic. Or perhaps Stephen Gallagher is. Or perhaps the two of us combined are. Last night, Stephen took me to dinner with his daughter Ellen at a terrific Chinese restaurant in Soho. Among the many things we talked about how much we enjoyed the cheesy, silly 1970s Gerry Anderson series UFO (I absolutely love the Barry Gray score). So I was a bit startled to discover the  news today that Robert Evans  is developing  a theatrical remake of UFO. The script is being written by Ryan Gaudet and Joseph Kanarek.

The Robert Evans Co. has a first-look deal at Paramount, which will be first stop for the project. "We know the importance of the 'UFO' series brand to ITV Global, and we will work closely with them to build this into a franchise," Evans said.

This is not the first time a revival of UFO, either for TV or film, has been attempted. I believe the last one was for MGM and would have been shot in Australia. I wonder if they will keep the women with the colored hair...and the secret government base under a movie studio...and the Interceptors that could only fire one missile.

All You Need to Get a Movie Deal is an Old TV Guide, baking soda, and Richard Dean Anderson.

MacGYVER is the lastest old TV series being developed for the big screen. Raffaella De Laurentiis, Dino De Laurentiis, Martha De Laurentiis and series creator Lee Zlotoff are producing for New Line. 

"We think we're a stick of chewing gum, a paper clip and an A-list writer away from a global franchise," said New Line's Richard Brener.

Rehashes, Reworkings and Reimaginings

Once again, there are quite a few British remakes, shows based on movies, and "reimagined" old TV series among the pilots greenlighted to film for the 2009-2010 season.

NBC, burned badly by THE BIONIC WOMAN and KNIGHT RIDER, seems to have sworn off re-imaginings this season, though they are shooting a pilot based on the movie PARENTHOOD, which already inspired a flop 1990 sitcom on the same network.

CBS seems to have lost interest in foreign remakes (after getting burned with ELEVENTH HOUR, WORST WEEK and THE EX-LIST) and reimaginings (though they haven't tried any yet), passing on proposed remakes of HAWAII FIVE-O, LOST IN SPACE, and STREETS OF SAN FRANCISCO. That said, their sister netlet the CW is shooting a MELROSE PLACE remake to capitalize on their success with BEVERLY HILLS 90210.  

ABC is shooting pilots based on the movie THE WITCHES OF EASTWICK, the 1983 NBC series V, and a stateside version of the BBC hit sitcom NO HEROICS. 

Fox is shooting a U.S. version of ABSOLUTELY FABULOUS and resurrecting THE HUMAN TARGET, a comicbook franchise that inspired a flop Rick Springfield series on ABC back in 1992. 

To see a complete list of the networks' various pilots, click on the individual network links above.

Remakes A-Go-Go and Not-A-Go

Variety reports that Fox has cast Kathryn Hahn as Edie (played by Jennifer Saunders in the original) and Kristen Johnston as Patsy (originally played by Joanna Lumley) in their latest attempt to remake  the hit UK sitcom ABSOLUTELY FABULOUS. Hahn was the neighbor in REVOLUTIONARY ROAD and Johnston is best known for her work on 3rd ROCK FROM THE SUN.

Meanwhile, director king David Nutter, who has a perfect record of getting his pilots picked up to series, has agreed to helm the third try at a WITCHES OF EASTWICK series. 

CBS greenlit a slew of pilots this week...but so far they haven't ordered the buzzed-about remakes of STREETS OF SAN FRANCISCO or HAWAII FIVE-O. 

More Retro TV News

Fox has reshuffled the creative team behind it's big screen theatrical remake of THE A-TEAM. Director John Singleton, who previously bungled the SHAFT remake, is out and Joe Carnahan is in. Ridley Scott is now on board as producer, along with Stephen J. Cannell, who created the original hit series. Carnahan will also team up with screenwriter Brian Bloom to rewrite Skip Woods' current draft of the script. The studio hopes to get the movie into production in June for a Summer 2010 release. Variety reports that some tweaks are being made to the series concept:

In the original, four Vietnam vets convicted of armed robbery escape from military prison and became do-gooder mercenaries. The Middle East will replace Vietnam as the place the four did their tour of duty, but Carnahan said the origin story is the jumping-off point. "This was a coveted property, and reimagining a show that I remembered as a kid was tough to turn down," Carnahan said. "Fox hired me to make it as emotional, real and accessible as possible without cheesing it up."

It's 1980 again

Hot on the heels of THE BIONIC WOMAN and KNIGHT RIDER, ABC has greenlighted a pilot for a "reimagined" version of V, the NBC alien invasion series that starred Mark Singer,  Robert Englund and Jane Badler (pictured on the left). Variety reports:

The new "V" centers on Erica Evans, a Homeland Security agent with an aimless son. When the aliens arrive, her son gloms on to them -- causing tension within the family. Like the original, show centers on visitors who say they've come to help the Earth -- but their motives are nefarious.

V writer/creator Kenneth Johnson isn't involved in this version, which will be written and produced by Scott Peters from THE 4400.

It's Not Easy Doing a Show About a Talking Car That Fights Crime

Gary Scott Thompson, showrunner of the rebooted KNIGHT RIDER, talked to MediaWeek about the hard road the show has traveled. The biggest problem has been NBC's tinkering with the concept and the abrupt decision, based on plummeting ratings, to cut back the number of episodes ordered and to  make the show more like the David Hasselhoff original than a Galactica-esque " reimagining."

(Thanks to TV Squad for the link)

They are The Champions

Variety reports that Guillermo Del Toro and Christopher McQuarrie are teaming up to write United Artists' movie version of the 1960s UK series THE CHAMPIONS, which starred Stuart Damon as one of three spies who develop super powers after crashlanding in the Himalayas and being rescued by a secret civilization. Tom Cruise and Paula Wagner will produce. 

Absolutely Scary

The wave of British TV series remakes on American networks is continuing. Variety reports that Fox is developing a U.S. version of  "Absolutely Fabulous" set in Los Angeles. Christine Zander, a writer for "Saturday Night Live," will write the script and exec produce with Mitch Hurwitz, Ian Moffet and the original creator/star/producer Jennifer Saunders. This is not the first time a U.S. network has tried an Abfab redo.  Roseanne Barr and Carrie Fisher teamed up for a U.S. version ten years back for ABC but it went nowhere.

Remakes and Sequels A-Go-Go

Variety reports on a slew of remakes and sequels today. Disney has signed Johnny Depp for a fourth PIRATES OF THE CARIBBEAN movie and he will play Tonto in a new LONE RANGER flick (honest, he will!).  Warner Brothers is bringing back Will Smith in a prequel to I AM LEGEND. And Sony TV and Geffen Records are developing a remake of THE PARTRIDGE FAMILY, which will be written by Jeff Rake of CASHMERE MAFIA.

I'm Fraking Quoted

Chris Talbott of the Associated Press picked up on my blog post a while back about the subversive power of "Frak"..and quoted me in an article on the topic that is showing up today all over the fraking place.

Lee Goldberg thinks Glen A. Larson is a genius, and not because the prolific television writer and producer gave us "Knight Rider" and "B.J. and the Bear."

It was Larson who first used the faux curse word "frak" in the original "Battlestar Galactica." The word was mostly overlooked back in the '70s series but is working its way into popular vocabulary as SciFi's modern update winds down production.

"All joking aside, say what you will about what you might call the lowbrow nature of many of his shows, he did something truly amazing and subversive, up there with what Steven Bochco gets credit for, with 'frak,' " Goldberg said.

There's no question what the word stands for and it's used gleefully, as many as 20 times in some episodes.

[...]Goldberg believes Larson should get more credit for "frak" and has posted an appreciation on his Web site. He even sought out Larson to let him know how he feels: "I told him, 'Frak is fraking brilliant, Glen.' "

The reporter also talked to BATTLESTAR GALACTICA cast members, novelist Robert Crais, and he even  managed (with my help) to track down Glen for a quote or two.

"Our point was to whenever possible make it a departure like you're visiting somewhere else," Larson said. "And we did coin certain phrases for use in expletive situations, but we tried to carry that over into a lot of other stuff, even push brooms and the coin of the realm."

The producers of the new BATTLESTAR GALACTICA fraking love to use the word, of course.

Co-executive producer and writer Michael Angeli, an Emmy nominee for the episode "Six of One," said using the word in scripts is satisfying for anyone who's been censored over the years.

"It's a great way to do something naughty and get away with it," Angeli said.

That talented motherfraker is frakin' right.

The Sweeney Gets Nicked

 The big-screen remake of the cult UK TV series THE SWEENEY (one of my favorites) has been shut down just a few weeks before it was scheduled to go into production.  Variety reports that backer Fox Searchlight got cold-feet , worried that the $16 million movie from writer-director Nick Love wouldn't make money outside of England without a big-name star attached (bigger than Ray Winstone and Michael Fassbinder, who were taking over the roles originated by John Thaw and Dennis Waterman). But the producers insist the movie  isn't dead:

Rather than continue with pre-production in the hopes of nabbing a big name at the last minute, Fox and DNA mutually agreed to step back and wait. They are still hoping to go into production next year. Cult writer-director Nick Love remains attached to direct.
[...]"We're confident we'll get the film made next year," DNA production chief Allon Reich told DailyVariety.

It's 1970 All Over Again

CBS may have canceled SWINGTOWN, but their love affair with the 1970s is just getting started. Hot on the heels of the news that CBS is remaking THE STREETS OF SAN FRANCISCO comes word from the Hollywood Reporter that the network is also developing a new HAWAII FIVE-O. They've hired CRIMINAL MINDS showrunner Ed Bernero to craft this new take. The last time CBS tried to revive HAWAII FIVE-O, back in the late 90s, they turned to writer/producer Stephen J. Cannell, who wrote the script with former network chief Kim LeMasters and cast Gary Busey and Russell Wong as the stars.  James MacArthur reprised his role as Danny "Dano" Williams, who'd bec0me Governor of Hawaii. Several other HAWAII FIVE-O cast members, including Chin-Ho (who was killed off in season 10), returned in cameos.  Mike Post even updated the FIVE O theme. The pilot was shot and never aired...but I have a copy.

Ciscos are taking it to The Streets

The recent announcement that CBS is developing a remake of THE STREETS OF SAN FRANCISCO made me wonder how the news was playing with the Ciscos, the diehard fans of the show who inundated ABC with packages of Rice-A-Roni a few years ago.

It isn't going over well. They have taken out a full-page ad in Daily Variety demanding the return of the show with the original cast, wardrobe, and automobiles.

"It's an outrage," said Kirby Sneed, spokesperson for the Save Our Streets Global Alliance. "Any version of STREETS without Karl Malden, Michael Douglas, and Darleen Carr would be an abomination."

His dream of a STREETS reunion nearly came true sixteen years ago when NBC mounted the TV movie/pilot BACK TO THE STREETS OF SAN FRANCISCO, which was written by William Robert Yates, one of the original producers. Malden returned, as did Carr, but he was teamed with two new partners and Michael Douglas' character was killed off. The fans felt betrayed.

"The fen have disowned the movie," he said. "We don't consider it canon."

Sneed says the "horrific creative choices" made in the movie have "been corrected in the subsequent fanfiction, but it took a lot of work."

He says that Ciscos realize that Malden, now in his 90s, might be too old to resume his part, but the fen would be willing to accept Paul Sorvino in his place, as long as he reprises his role as Inspector Bert D'Angelo, the lead of a short-lived STREETS spin-off called SUPERSTAR.

They also have "realistic expectations" as far as Douglas' participation is concerned, acknowledging that its unlikely that the feature film star would return for a TV movie. They are in serious discussions with Douglas' publicist's secretary about the possibility of him doing a cameo if a "true remake" is made.

They are confident, however, that Richard Hatch, who replaced Douglas in the series' final season, would be available to resume his role (he has already written his own screenplay for a STREET revival, which he is adapting into a comic book).

Sneed, who lives in San Francisco, has kept the series alive through fan fiction and a driving tour of STREETS locations that he offers to tourists in his1971 Ford Galaxie 500, the same model as the one Inspector Stone drove.

"It was more than  TV show," he said. "It's as much a part of the city, and its history, as the Golden Gate Bridge."

Lewis: Series One and Two

Over the last few weeks I've been watching the first two seasons of LEWIS, the sequel series to INSPECTOR MORSE, one of my all-time favorite mystery series.

Lewis was Morse's long-suffering sidekick in the original series. Now Lewis is the Inspector and he has a suffering side-kick of his own, former seminary student Sgt. Hathaway. The series features many of the same production team as MORSE, as well as the same Oxford locations and the Hitchcockian cameos by author Colin Dexter, who wrote the books that the series was based on. The commonalities end there.

The MORSE mysteries were rich, complex, surprising and intelligent...and were enlivened by Morse's wonderfully irascible, embittered and brilliant bachelor and his strained, father-son relationship with Lewis, a simple-minded family man.  The writer/directors of MORSE included Danny Boyle and Anthony Minghella...there are no comparable talents on the new show.

The mysteries in LEWIS are plodding, padded and obvious...and worst of all, they are mostly the same story told again and again (a group of current students or former classmates share a dark secret that sparks a series of killings). Lewis and Hathaway end up solving the crime through coincidence and luck rather than deduction or cleverness. The suspects are all one-dimensional cliches.

The absence of John Thaw's Morse is keenly felt...even more so by the unnecessary references to his character that are sprinkled heavy-handedly and awkwardly through many of the episodes. One of the biggest mistakes was trying to turn Lewis into Morse...by killing off his wife and sending away his kids. So now he is the lonely bachelor butting heads with his bosses...almost forcing the audience to compare him to Morse. Unfortunately, his loneliness isn't nearly as interesting and revealing as Morse's. It's just dull.

And while Morse's ill-fated crushes were sad reminders of his lonely life...and his inability to fit in...the gimmick in LEWIS of having a female suspect in just about every episode wanting to drag him into bed is ridiculous and embarrassing.

And yet...I enjoy the show and pretty much devoured the episodes. I find it oddly soothing...like a cup of hot tea. The primary attraction of LEWIS is the relationship between Lewis and Hathaway (who is, by far, the more interesting character of the two) which sort of plays like "MORSE light." Hathaway is a fascinating character and actor Lawrence Fox brings far more depth to his performance than there appears to be on the page. Their gentle banter lacks the bite of MORSE, but it has its pleasures all the same.

Maybe it's more nostalgia for MORSE than any real love of LEWIS that keeps me watching...

LEWIS would clearly like to be the successor to MORSE...and if ratings in the UK are any indication, they've achieved their goal...but in my mind, REBUS wins that honor hands-down.

I'm Waiting for the remake of Barnaby Jones

TVSquad reports the surprising news that CBS is developing a remake of the Quinn Martin series THE STREETS OF SAN FRANCISCO, which starred Karl Malden and Michael Douglas as two SFPD detectives. Screenwriters Sheldon Turner and Robert Port are writing the script and Simon West is attached to direct if it goes to pilot. Can CANNON and BARNABY JONES be far behind?

Old is New Again

Variety reports that ABC has picked up David E. Kelley's American version of the hit BBC series LIFE ON MARS...only without David E. Kelley.

As for "Life on Mars," late Sunday a deal for the show hadn't yet been confirmed -- but now that "Boston Legal" has been given a primetime reprieve, it's believed a "Mars" pickup is close behind. That's because "Legal" creator David E. Kelley also owned the rights to the U.S. adaptation of "Mars." Kelley was looking to depart the project, while ABC was looking to continue it sans Kelley.

Hence, a weekend-long dance that finally appeared resolved by Sunday. "Legal" was back for a fifth season, while "Mars" is expected to continue as a 20th Century Fox TV/ABC Studios co-production. "October Road" exec producers Josh Appelbaum, Andre Nemec and Scott Rosenberg are in line to take over as showrunners.

Nikki Finke pretty much says the same thing on her blog, adding that BOSTON LEGAL is probably going to recast its supporting players yet again. Meanwhile, she reports that the CW has picked up the BEVERLY HILLS 90210 revival...and that Tori Spelling may be joining the cast.

Old is New Again

I am a bit bewildered by the surge in remakes and spin-offs of old TV shows in development. First, there was NBC's KNIGHT RIDER pilot/Ford commercial last month. Now comes news that the CW is developing a BEVERLY HILLS 90210 remake, ABC is reviving the short-lived series CUPID from a decade ago,  SciFi is crafting a BATTLESTAR GALACTICA prequel series called CAPRICA, and producer Bill MacDonald, actor Roger Moore (as a producer) and director Barry Levinson are independently financing a pilot based on THE SAINT and shopping it around themselves. Meanwhile, movie versions of GET SMART , SPEED RACER, and SEX AND THE CITY are on tap for this summer and director John Singleton's A-TEAM is coming in June 2009. What is spurring this renewed interest in old TV? It's not like the last wave of TV remakes did so hot (MIAMI VICE, BIONIC WOMAN, I SPY, etc.).

(In a related note, based on the success of THE OFFICE and UGLY BETTY, the networks are also on an over-seas shopping spree, developing U.S. versions of the UK series SPACED, LIFE ON MARS, and THE ELEVENTH HOUR, as well as formats from Australia).

Unsold Animated THAT GIRL Pilot from 1972

Unsold Animated LOST IN SPACE Pilot from 1973

Hanna-Barbera made this unsold, Saturday-morning pilot back in the early 1970s, perhaps hoping to capitalize on the success of the animated STAR TREK. Supposedly, Fred Freiberger...the writer/producer responsible for the awful third season of STAR TREK and the loathed second season of SPACE 1999, had a hand in this "reimagining" of LOST IN SPACE. The only cast member from the original series who participated was Jonathan Harris, reprising his role as Dr. Smith (now a Biology professor!).

The Saint

Variety reports today a bit of news that I've known for months:  TNT is developing a new, TV series version of THE SAINT. The producer is William J. McDonald and even though he was involved in the horrendous movie version with Val Kilmer a few years ago, I'm told by sources in-the-know that this project will be more loyal to the character immortalized in the novels by Leslie Charteris.   Jorge Zamacona (HOMICIDE, WANTED) is writing the script.

Novel Twists

Variety reports that The Weinstein Company has drafted mystery novelists Terrill Lee Lankford and Michael Connelly to script the feature film version of the TV series THE EQUALIZER, to be directed by  Paul McGuigan.

Connelly acknowledged in a statement that "times have certainly changed since the days of the television show" but said he and his co-scribe "plan to build a character that is of these times but to also keep the heart and soul of the show intact."

It's highly unusual for studios to turn to novelists to adapt anything, especially something as tricky as turning a TV series into a feature film...so this is a big deal. Lee and Michael must have made a hell of a pitch and knowing them as I do, you can bet it's going to be a great script.

Meanwhile, ABC has greenlit production on MARLOWE, a pilot that's a "contemporary update" of Raymond Chandler's classic LA private eye. Greg Pruss and Carol Wolper are writing and producing (Anyone remember the last "update" of Marlowe starring Robert Mitchum...and set in London!?)

AMC Taken Prisoner

Variety reports that AMC will air six episodes of the UK's new TV version of the 60s cult classic THE PRISONER...which is not to be confused with the movie verison being done at Universal by director Christopher Nolan  from a script by Janet & David Peoples. Universal has the film rights to the Patrick McGoohan series while Granada has the TV rights.  The series, which will be written by Bill Gallagher, will begin production in the Spring and will debut here and in the UK in January 2008.

AMC execs were tightlipped regarding details of the updated version but said it will similarly involve themes of paranoia and deal with sociopolitical issues. What the new show won't be is an exact replica of the original.

"The show isn't just a re-creation," said Rob Sorcher, AMC exec veep of programming and production. "What we're doing is an entirely new reinterpretation that stays true to the components of the McGoohan (show)'s vision."

The new series will revolve around a man who awakes in the Village with no memory of how he arrived. Episodes will follow how he tries to make sense of his new environment, in which inhabitants are under constant surveillance, identified by number and sans any recollection of how they got to the island.

Persuaders still Persuasive

Way back in June 2005, it was announced that Ben Stiller and British comic Steve Coogan were teaming up for a feature film revival of the flop 70s TV series THE PERSUADERS. Apparently, that project has dissolved, because this week Variety reports that the project is now being developed by producer Ashok Amritraj and ANGER MANAGEMENT screenwriter David Dorfman. There was no mention of either Stiller or Coogan's involvement. If they are gone, it makes the reasoning behind mounting this TV revival a real head-scratcher.

THE PERSUADERS starred Roger Moore and Tony Curtis as two fun-loving playboys in Europe who were drafted by a retired judge to solve crimes. The series was produced in England and only lasted a season. But the reruns have a cult following in the UK and France which, apparently, Amritraj thinks is enough to prop up a "tent pole action comedy."  But does anyone besides me and a handful of other TV geek still remember the show?

Let the Reimaginings Begin

One of the exec producers of the reimagined BATTLESTAR GALACTICA is resurrecting another old series from the Universal vaults: THE BIONIC WOMAN, a spin-off from THE SIX MILLION DOLLAR MAN. Variety reports that David Eick has hired screenwriter Laeta Kalogridis to tackle his latest reimagining for NBC.

"It's a complete reconceptualization of the title," Eick told Daily Variety. "We're using the title as a starting point, and that's all."

"It's going to be a meaningful departure" from the original, he said, using words such as "nanotechnology" to hint at what's in store.

That Girl and Charlie's Angels

The Globe  (the sleazy tabloid, not the Boston paper) reports that Marlo Thomas is returning as THAT GIRL in a sitcom pilot for ABC. In the revival, she plays a grandmother whose 20-year-old grand-daughter is a struggling actress in New York. This reminds me of the disasterous MARY TYLER MOORE SHOW movie  (MARY & RHODA) that ABC did a few years back, which focused on the original sitcom stars' daughters and their laughless struggles.  The tabloid also reports that all the actresses, from Farrah Fawcett to Tanya Roberts, whot starred in CHARLIES ANGELS are reuniting for an ABC TV movie.

Miami Hell

Kim Masters at Slate Magazine looks at the troubled production of the MIAMI VICE movie.

on Miami Vice things went so wrong that Foxx ended up leaving in the middle of production, after a shooting (and we don't mean the kind with a camera) took place during filming in the Dominican Republic. Foxx refused to return for any more work outside the United States, meaning that Mann had to rewrite the ending, eliminating a version that was to have been shot in Paraguay.

"The whole of making this movie was filled with adversity," Mann says. But he adds that whatever the crew might have endured, it was all in the service of making a great film. "Sometimes folks are going to join this unit and they may have a tough time," he says. "Guess what? They're on the wrong movie."