FZR & Ronin

Just read this on MTV.com

Who you gonna call? Well, MTV just scored the news. Ivan Reitman is returning to direct Ghostbusters 3. With Gene Stupnitsky and Lee Eisenberg currently penning the script, it was assumed that Harold Ramis might direct since they also wrote Ramis’ Year One. However, with Year One’s box office failure I was honestly nervous about Ramis taking the helm. Fortunately we can all now rest at ease. Read more.

Follow up:

When questioned about directing Ghostbusters 3, Reitman shortly answered, “Yes.”

Now that he officially confirmed his involvement what did he have to say? Pretty much little to nothing actually. Ivan Reitman told MTV the the second draft of the screenplay is being written as we speak. “They have delivered a draft,” he said. “We are working our way through another draft… good work is being done and all of us have our fingers crossed.”

Seems he wouldn’t talk about any of the rumors that have been flying around lately including Sigourney Weaver’s statement about Peter Venkman being a ghost. “I’m not going to comment on what’s in the script and on what Sigourney may or may not have said.” Ivan did say there are “some very cool things” in the script now.

This could leave us to believe the rumors about a younger generation of Ghostbusters being involved (see here). Some of us fans are crossing our fingers one of these newbies is Weaver’s characters son, Oscar.

New Wave’ Pioneer of French Cinema, Dies at 89

Jan. 11 (Bloomberg) — Eric Rohmer, a French director and leading “New Wave” filmmaker whose pictures fed art-house screens starting in the 1960s and held sway over cinema enthusiasts ever since, has died. He was 89.

He died today, Agence France-Presse reported, citing his producer, Margaret Menegoz.
R.I.P
Rohmer said his stylized features were more popular in the U.S. at first than in France, but also were often misunderstood as talky intellectual exercises.

Films such as “My Night at Maud’s” (1969), “Claire’s Knee” (1970) and “Love in the Afternoon” (1972) belied their sexy titles as principal characters filled their angst-ridden nights with endless moralizing.

For Rohmer, it all conformed to a personal vision: to make films portraying the inner lives of characters without adding extraneous drama — thereby provoking pot-shots from critics and even other filmmakers.

After a shocking absence Its back Name her!