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Paramount Confirms TWO Star Trek films currently in the works!

I share your concern but Tarantino is one of the few directors I would trust in this scenario. He's a true auteur with good instincts.

Bryan Singer's usually a good filmmaker too, but that's just it -- he was approaching Superman as a fan rather than a professional, so his nostalgia got in the way and the result fell short of what he was capable of.
 
Lots of people say this but he has proven repeatedly that he can work outside of that context. I actually wonder if the backlash would be worse if he didn't bring gratuitous violence to Trek and the Tarantino fanbase got mad that he wasn't doing 'Tarantino' movies anymore.
I'm not saying he can't do good work without vuglarity/violence, I know he can, I'm saying I don't really want him to bring that stuff to Trek. If he does, it's not a deal breaker for me, it's just not my preference. Star Trek is somewhat wholesome entertainment.

Bryan Singer's usually a good filmmaker too, but that's just it -- he was approaching Superman as a fan rather than a professional, so his nostalgia got in the way and the result fell short of what he was capable of.
I don't think Singer is held in anywhere near the same regard as Tarantino artistically. He's not Kubrick, be he's on another level than Singer IMO. I understand your point though.

I'm also not sure that Tarantino is that big of an ST fan. He's a fan for sure, but not on the same level of most of us around here I presume.
 
Lots of people say this but he has proven repeatedly that he can work outside of that context. I actually wonder if the backlash would be worse if he didn't bring gratuitous violence to Trek and the Tarantino fanbase got mad that he wasn't doing 'Tarantino' movies anymore.

A perfect example of Tarantino bringing his style into an established series are his Grave Danger episodes on CSI. It's clearly a QT joint, but it still stayed within the visual and storytelling template the showrunners and cinematographers created.
 
A perfect example of Tarantino bringing his style into an established series are his Grave Danger episodes on CSI. It's clearly a QT joint, but it still stayed within the visual and storytelling template the showrunners and cinematographers created.
Yes, and with ER also, it was still clearly an ER/CSI episode, people weren't suddenly swearing and spouting blood (well, anymore than they normally did on ER).

I don't mind if QT bring a little bit of edge to Star Trek (it's not always family-friendly fare, it's actually got a pretty good range) and I don't mind making jokes about "If Tarantino did Star Trek, it might go... a little something... like this..", but some people genuinely think it'd be n-word city, as though QT can't step outside of his own tropes. He can- and he has!
 
Yes, and with ER also, it was still clearly an ER/CSI episode, people weren't suddenly swearing and spouting blood (well, anymore than they normally did on ER).

I don't mind if QT bring a little bit of edge to Star Trek (it's not always family-friendly fare, it's actually got a pretty good range) and I don't mind making jokes about "If Tarantino did Star Trek, it might go... a little something... like this..", but some people genuinely think it'd be n-word city, as though QT can't step outside of his own tropes. He can- and he has!

He has on tv shows. Every movie he's made has been in the same style. Sure, he could fit in to what's come before, but there is no guarantee that he will and his previous filmography argues against it.
 
He has on tv shows. Every movie he's made has been in the same style. Sure, he could fit in to what's come before, but there is no guarantee that he will and his previous filmography argues against it.
His previous filmography does not include franchise settings, though. I suspect he's bright enough to recognize that working on Trek would be something of a blend--like working on TV series (as he's done), but with a budget and thematic leeway that's more expansive than broadcast TV usually allows (owing to time and money limitations, not an inherent flaw in TV-land).
 
Honestly, that's what worries me. Giving a noted director free rein to indulge his fannish nostalgia for a beloved franchise in a big-budget movie? The last time that happened, we got Superman Returns.
Wouldn't The Force Awakens qualify as well?
 
Wouldn't The Force Awakens qualify as well?

Hardly. That wasn't Abrams being given free rein to indulge himself, that was Abrams and Lawrence Kasdan working to make something Kathleen Kennedy and Disney would approve. As we've seen with Solo and Episode IX, Star Wars directors these days need to satisfy their superiors if they want to keep their jobs. The guiding vision is that of the Lucasfilm/Disney brain trust guiding the whole series, rather than any single director.

Besides, The Force Awakens actually works as a movie. Sure, it "rhymes" heavily with A New Hope, but in a way, that's part of the point -- the First Order is just a bunch of small-minded Empire fanboys and wannabes who don't have anything to offer the galaxy except a rehash of the destructive strategies of the regime they want to resurrect. Like most authoritarians, they're stuck in the past and afraid of change. While the Resistance characters, by contrast, are much more forward-looking and new, shaking up the old conventions and defying expectations. It's a theme that gets developed even further in The Last Jedi -- it looks like it's going to "rhyme" with Vader's redemption in ROTJ, but that turns out to be a red herring, and many of the film's plot threads are driven by the debate over clinging to the old vs. rejecting it in favor of the new. So it all fits together as part of a larger plan that's bigger than Abrams.
 
His previous filmography does not include franchise settings, though. I suspect he's bright enough to recognize that working on Trek would be something of a blend--like working on TV series (as he's done), but with a budget and thematic leeway that's more expansive than broadcast TV usually allows (owing to time and money limitations, not an inherent flaw in TV-land).

I don't think anything about it is nearly as obvious as people are saying. Which direction this movie goes is a creative choice, nothing more. There's absolutely no reason he couldn't make a creative choice that is more in line with his film work than his tv work.

Will depend on what the studio wants.

I agree. But I don't automatically believe that paramount hired Quentin Tarantino in order to ask him to be less Tarantino-ish. Maybe I'm wrong - I hope so, but until we have more information, I think everything is still a possibility.
 
more from pegg
https://trekmovie.com/2018/05/09/si...k-4-doesnt-expect-to-grow-old-playing-scotty/

interesting about his comments on STB being a reaction to STID:
"The thing with Beyond, I think the time is sort of born that out in terms of its popularity and the constant feedback I get from the Star Trek community, which seems very grateful, and that’s who we… ‘Cause I felt they were done a slight disservice, maybe, with Into Darkness, ’cause it was quite… It was divisive, I think…And so Doug and I tried to sort of pull it back to almost a giant episode was our agreement that we came up with."

this fan in particular would preferred it had STID been built upon i.e. further Klingon fall out due to the ID khanage leading to the brink of war (maybe even more Khan), more references/plot points toward prime timeline events etc, maybe that's what the general audiences that seemed to dig STID would've preferred too?
 
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I agree also. The most successful films in Trek were generally the ones where an ongoing story was told (TMP aside I suppose), Beyond only slightly gave us that with the references to the death of Kirk's father. I would have liked to have seen what the potential consequences of STID were. Hell you could even have replaced Krall (which is one of the major weak points of Beyond anyway) with the Klingons attacking the Yorktown as the beginning of a retaliatory military campaign, the story being Kirk and co have to prevent all-out war. The film could have largely have stayed the same but at least there would have been some continuity in the series.
 
The thing is, there's a year-long time jump between the climax and final scene of STID as it is, so presumably the Klingon tensions were resolved in the interim. Besides, STID made some dubious story decisions, and for that matter, so did the first film. I liked a lot about them, but they had their shortcomings, and I'm glad the STB team made a clean break.

Besides, the real story arc of these films is not about galactic politics or war, it's about the formative journeys of the TOS crew. It's about the young Kirk, Spock, McCoy, and the rest growing into the people we know from the 5-year mission. And the trilogy gave us that journey. Kirk was a cocky young cadet in the first film, he learned more humility and responsibility in the second, and in the third, he'd finally matured into the Kirk we know. The origin-story arc reached its conclusion in the third film, which I assume was always the plan.

Not to mention that STB was the first film in Kelvin, and one of the few Trek films overall, that actually involved the frontier and strange new worlds. The point of Yorktown was that it was right on the cusp of the frontier, the interface between the Federation and the new civilizations beyond it, serving as a diplomatic headquarters for new contacts and a command base for exploration. Making it just some border outpost that the Klingons attacked as a political retaliation would've taken away that frontier aspect that too few Trek films have been willing to use.
 
The thing is, there's a year-long time jump between the climax and final scene of STID as it is, so presumably the Klingon tensions were resolved in the interim. Besides, STID made some dubious story decisions, and for that matter, so did the first film. I liked a lot about them, but they had their shortcomings, and I'm glad the STB team made a clean break.

Besides, the real story arc of these films is not about galactic politics or war, it's about the formative journeys of the TOS crew. It's about the young Kirk, Spock, McCoy, and the rest growing into the people we know from the 5-year mission. And the trilogy gave us that journey. Kirk was a cocky young cadet in the first film, he learned more humility and responsibility in the second, and in the third, he'd finally matured into the Kirk we know. The origin-story arc reached its conclusion in the third film, which I assume was always the plan.

Not to mention that STB was the first film in Kelvin, and one of the few Trek films overall, that actually involved the frontier and strange new worlds. The point of Yorktown was that it was right on the cusp of the frontier, the interface between the Federation and the new civilizations beyond it, serving as a diplomatic headquarters for new contacts and a command base for exploration. Making it just some border outpost that the Klingons attacked as a political retaliation would've taken away that frontier aspect that too few Trek films have been willing to use.
all those are really great points and make complete sense (and yes the end of STIID is a year after so youd assume everything was ok with the Klingons maybe? but then maybe they find out what happened on kronos later or something). but to me id have just liked another big dumb STIDy space action film -the Federation v Klingons and with maybe Khan defrosted and poking his nose into stuff somehow lol
 
this fan in particular would preferred it had STID been built upon i.e. further Klingon fall out due to the ID khanage leading to the brink of war (maybe even more Khan), more references/plot points toward prime timeline events etc, maybe that's what the general audiences that seemed to dig STID would've preferred too?

Makes more sense to me than, "the marketing suxed" makes.
 
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