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Director Plans Robocop Comeback
31 January 2002 (WENN)
Robocop director Paul Verhoeven has unveiled plans to bring the cyborg cop back to life. Verhoeven made the first movie of a three-film series in 1987 - with Peter Weller as the crime fighting robot. Two sequels were later made by other directors, one with Weller as Robocop. And now the Dutch movie-maker says he wants to bring Weller back to make a proper sequel, and he has a 95 page petition collected by an internet fan site to help convince movie giant MGM to back the project. Verhoeven says, "About four weeks ago I was having lunch with Ed Neumeier, writer of Robocop and Starship Troopers, and during our conversation we got into Robocop again and we both felt that it would be interesting to do something again, especially that we are now 15 years later in time. I would not redo the first one, I would probably do a sequel, the first real sequel. I think if you were to do it now you would have to reflect the world we live in now. I would start from scratch and find an innovative story, that would satisfy all the people that are basically longing, like me, for a good sequel."

Denise Richards: Fish Lips
5 February 2001 (WENN)
Denise Richards was an ugly child - and all her classmates called her "fish lips". Denise, who shot to fame in Starship Troopers and Wild Things before teaming up with Pierce Brosnan in The World Is Not Enough is now considered one of Hollywood's most beautiful actresses. But she stunned when she saw the girl playing a young version of her character in new movie Valentine (currently the #2 film in America) - because the girl was much prettier than Denise herself had been as a child. She says, "I was so flattered that they cast the young girl as they did to play me young because she was so adorable. I did not look like that when I was that age." She adds, "People used to call me `fish lips'. Hopefully, I will have my sweet revenge now that people are putting collagen in their lips. Every girl at my high school had big hair and feathered-out wings, " she says, and they jeered at her for being different. Denise says at one point, she wanted to become a veterinarian, because she got to like animals better than humans. Her best pal now is her Boston terrier puppy.

The Light And Magic Get Cheaper
21 April 1999 (StudioBriefing)
Despite perceptions to the contrary, the cost of producing motion picture special effects is rapidly falling, George Lucas says in the current issue of Wired magazine. "Let me put it this way, " he tells Wired in an interview. "On Titanic (1997), the special effects cost $50 million and there were about 500 shots; same thing with Starship Troopers (1997) -- 500 shots for $50 million. In Star Wars: Episode I - The Phantom Menace (1999) there were almost 2, 000 shots, and the budget is around $60 million. You do the math." And Lucas forecasts that the costs for special effects will continue to plunge: "The next picture we'll be able to improve on this one, and the next picture we'll improve further still."

Box Office Lacks The Green Stuff (And It Aint Flubber)
8 December 1997 (StudioBriefing)
Only Disney's Flubber gave the box office any bounce over the weekend, as the movie took in an estimated $11.8 million, almost twice the amount earned by its nearest rival, Alien Resurrection, which suffered a 62-percent plunge from last weekend. The drab results were attributed to seasonal conditions and the lack of any new film opening nationally. However, the critically praised Good Will Hunting (1997), which opened in only seven theaters, took in about $260, 000, or an astounding average of $37, 000 per screen. By contrast, Flubber averaged $4, 500 per screen. Hunting, from Disney's Miramax unit, is set to expand to 20 markets on Christmas day and roll out nationally in January. The top-ten films, according to box-office trackers Exhibitor Relations:1. Flubber, Disney, $10.7 million; 2. Alien Resurrection, $6.3 million; 3. John Grisham's The Rainmaker (1997), Paramount, $5.7 million; 4. Anastasia, Fox, $4.8 million; 5. Jackal, The (1997), Universal, $3.9 million 6. Midnight in the Garden of Good and Evil (1997), Warner, $2.8 million; 7. Mortal Kombat -- Annihilation, New Line, $2.1 million; 8. Bean, Gramercy, $1.3 million; 9. I Know What You Did Last Summer (1997), Sony, $1.2 million; 10. Starship Troopers (1997), Sony, $1.1 million.

Another Resurrection Unlikely
2 December 1997 (StudioBriefing)
Final results for the last three days of the Thanksgiving Day weekend were released Monday (totals for the five-day holiday are expected to be released later today -- Tuesday), showing Disney's Flubber (1997) on top, followed by Fox's Alien: Resurrection (1997). New Line's Mortal Kombat: Annihilation (1997) took a steep plunge, losing 60 percent of its $16.8 million take a week ago to wind up with $6.8 million. Today's Daily Variety points out that the $16.5 million gross for Alien Resurrection's debut was slightly less than the take for the Mortal Kombat sequel a week ago, indicating that the final gross for the Fox film, which reportedly cost $75 million, may wind up at less than $60 million. The top ten, according to Exhibitor Relations (figures in millions):1. Flubber (1997) (Buena Vista), $26.7; 2. Alien: Resurrection (1997) (20th Century Fox), $16.5; 3. Anastasia (1997) (20th Century Fox), $11.8; 4. Rainmaker, The (1997) (Paramount) $10.6; 5. Jackal, The (1997) (Universal), $7.6; 6. Mortal Kombat: Annihilation (1997); (New Line), $6.8; 7. Midnight in the Garden of Good and Evil (1997); (Warner Bros.), $5.3; 8. Little Mermaid, The (1989) (Buena Vista) $4.0; 9. Bean (Gramercy) $3.0; 10. Starship Troopers (1997) (Sony Pictures) $2.8.

Fox Tears Up The Turkey Coop
1 December 1997 (StudioBriefing)
Fox's resurrection of the Alien series with Alien: Resurrection (1997) took second place with a take of about $27.2 million, the best opening for any Alien film. Fox also scored strongly with its animated Anastasia (1997), which grossed about $16.7 million in its second weekend, placing it third on the top-ten list for the Thanksgiving weekend. Discussing the Anastasia results, David Davis of investment bankers Houlihan, Lokey, Howard & Zukin told A.P., "It's put Fox on the map and establishes them as the leading competitor to Disney, " In Sidney, News Corp shares rose to their highest level since July, 1995 on news of the two Fox films' performance. Overall, the domestic box office took in an estimated $141 million, down from $148 million during Thanksgiving, 1996 and $158 million the previous year. The weekend top ten, according to box-office trackers Exhibitor Relations:1. Flubber (1997), Disney, $36.4 million; 2. Alien: Resurrection (1997), Fox, $27.2 million; 3. Anastasia (1997), Fox, $16.7 million; 4. John Grisham's The Rainmaker (1997), Paramount, $14.5 million; 5. Jackal, The (1997), Universal, $10.3 million; 6. Mortal Kombat: Annihilation (1997), New Line, $9.25 million; 7. Midnight in the Garden of Good and Evil (1997), Warner Bros., $7.3 million; 8. Little Mermaid, The (1989), Disney, $4.7 million; 9. Bean (1997), Gramercy, $4.1 million; 10. Starship Troopers (1997), Sony $4 million.

Anastasia Has A "Respectable" Opening
24 November 1997 (StudioBriefing)
In second place was 20th's animated Anastasia (1997), which pulled in about $15 million, which analysts called "respectable." (It was the best opening ever for a non-Disney animated feature.) The studio had expected most of the competition to come from Disney's re-release of Little Mermaid, The (1989). However, it seemed clear that girls were being drawn to the two animated films and boys, to Kombat. 20th Century Fox marketing chief Bob Harper in an interview with today's (Monday) USA Today, acknowledged, "At this point, we're driven by Mom a little bit more than by Dad." Tom Sherak, chairman of 20th Century Fox Domestic Film Group, told today's (Monday) Los Angeles Times: "The bottom line is that Fox is looking to build a foundation for animation, to enter into that genre's marketplace. Anastasia has taken hold, and the public has said, 'Let's go see it.'" The weekend top-ten:1. Mortal Kombat: Annihilation (1997), New Line, $17.5 million; 2. Anastasia, Fox, $15 million; 3. John Grisham's The Rainmaker (1997), Paramount, $11 million; 4. Jackal, The (1997), Universal, $9 million; 5. Little Mermaid, The (1989), Disney, $5.8 million; 6. Midnight in the Garden of Good and Evil (1997), Warner Bros., $5.2 million; 7. Starship Troopers (1997), Sony, $5 million; 8. Bean (1997), Gramercy, $4 million; 9. Man Who Knew Too Little, The (1997), Warner Bros. $3 million; 10. I Know What You Did Last Summer (1997), Sony, $2.8 million.

Weekend Box Office Off Last Year's Mark
18 November 1997 (StudioBriefing)
Final weekend results showed the box office performing well below the record level it set during the comparable weekend last year when Space Jam (1996) headed the top-ten list with $27.5 million and the second weekend of Ransom (1996) followed with $22.4 million. By contrast, Universal's Jackal, The (1997) garnered only $15.2 million, while Starship Troopers (1997) took in just $10 million. Disney's reissue of Little Mermaid, The (1989) was in third place with $9.8 million, followed by Gramercy's Bean (1997) with $7.9 million. Warner's Man Who Knew Too Little, The (1997) opened in fifth place with a disappointing $4.6 million.

Critics Can't Kill Jackal
17 November 1997 (StudioBriefing)
Call it "The Weekend of The Jackal, " as the Universal film -- "suggested" by the 1993 Fred Zinnemann classic Day of the Jackal, The (1973) -- topped the box office with $15.6 million, according to estimates by Exhibitor Relations. The movie, which was generally drubbed by critics, bested last weekend's top-ranked Starship Troopers (1997), which dropped 54 percent from last weekend to tie a reissue of Disney's Little Mermaid, The (1989) with about $10.2 million. In fourth place was Gramercy's Rowan Atkinson comedy Bean (1997), which took in about $8 million. But Bill Murray's new comedy for Warner's, Man Who Knew Too Little, The (1997), realized too little as well, earning only $4.7 million. Estimated results for the top-ten films:1. Jackal, The (1997), Universal, $15.6 million; 2 (tie). Starship Troopers (1997), TriStar, $10.2 million; Little Mermaid, The (1989), Disney, $10.2 million; 4. Bean (1997), Gramercy, $8 million; 5. Man Who Knew Too Little, The (1997), Warner Bros. $4.7 million; 6. I Know What You Did Last Summer (1997), Columbia, $4.1 million; 7. Devil's Advocate, The (1997), Warner Bros. $3.6 million; 8. Red Corner (1997), MGM, $2.6 million; 9. Eve's Bayou (1997), Trimark, $2.55 million; 9. Boogie Nights (1997), New Line, $2.55 million.

Despite "R" Rating, Kids Sneak Into Troopers
11 November 1997 (StudioBriefing)
Following a stunt in which the New York Post sent two "undercover" 12- and 13-year-olds to three Manhattan theaters showing Starship Troopers (1997) to determine how strictly the theaters enforce the "R" rating (they were barred from only one), spokesmen for exhibitors conceded that strict policing is tough to carry out. "No matter what kind of roadblocks you put up, if someone is dead set on sneaking into a theater, they can do it, " Cineplex Odeon spokesman Howard Lichtman told the newspaper. Even a spokesman for the UA Criterion theater, which barred the youngsters, admitted, "Kids are going to sneak in from time to time. We can't patrol everyone."

Troopers Secure Box Office
11 November 1997 (StudioBriefing)
TriStar's Starship Troopers (1997) did somewhat better than weekend estimates, taking in $22.1 million, according to figures released Monday by Exhibitor Relations. Gramercy's Bean (1997) was second with $12.7 million.

Washington Post Critic Denounces Troopers
11 November 1997 (StudioBriefing)
Four days after Washington Post critic Rita Kempley blasted Paul Verhoeven's Starship Troopers (1997) in an unsparing review, her Post colleague, Stephen Hunter has joined in, calling it a film that "presupposes" Naziism. "It's spiritually Nazi, psychologically Nazi. It comes directly out of the Nazi imagination, and is set in the Nazi universe, " Hunter writes today (Tuesday) in a lengthy commentary. "Unlike films from a civilized society that see war as a debilitating, tragic necessity ... this movie sees it as a profoundly moving experience."

Country's Biggest Pirate Movie Lab Raided
10 November 1997 (StudioBriefing)
Prints of the just-released Starship Troopers (1997) as well as the recent Devil's Advocate, The (1997) and Red Corner (1997) were among 30, 000 bootleg videos confiscated by lawmen during a raid in the Bensenhurst area of Brooklyn Sunday, according to authorities. Officials described the production lab, where 500 VCR's were being used to turn out the pirate tapes, as the nation's largest.

Box Office Goes Bugs Over Troopers
10 November 1997 (StudioBriefing)
Despite the fact that Starship Troopers (1997) produced an estimated $21 million at the box office over the weekend and represented TriStar's third-biggest opening ever behind 1991's Terminator 2: Judgment Day (1991) and 1990's Total Recall (1990), the result was regarded by many analysts as somewhat disappointing. (They noted, for example, that it was well behind the $35 million produced during the same week last year by Disney's Ransom (1996), starring Mel Gibson and directed by Ron Howard.) The Rowan Atkinson starrer Bean (1997) was in second place with about $13 million, representing the biggest opening ever for distributor Gramercy Films and surpassing the company's $10 million forecast. Biggest disappointment was the performance of Mad City (1997), which, despite the marquee value of John Travolta and Dustin Hoffman, produced only $4.7 million to debut in sixth place. Another opener, the critically acclaimed Eve's Bayou (1997) opened with $3.3 million, but, with only 659 screens, it produced the third-highest per-screen average, $5, 008, behind Troopers ($7, 405) and Bean ($6, 652). The weekend top ten according to studio estimates: 1. Starship Troopers (1997), $22 million; 2. Bean (1997), $13 million; 3. I Know What You Did Last Summer (1997), $6.6 million (brining its 4-week total to $54.3 million); 4. Devil's Advocate, The (1997), $5.02 million; 5. Red Corner (1997), $5 million; 6. Mad City (1997), $4.7 million; 7. Boogie Nights (1997), $4.1 million; 8. Eve's Bayou (1997), $3.3 million; 9. Kiss the Girls (1997), $2.5 million; 10. Seven Years in Tibet (1997), $2.1 million.

But Will It Break A Box-Office Record?
7 November 1997 (StudioBriefing)
Despite strong competition, Starship Troopers (1997) is likely to draw record crowds, some analysts forecast today (Friday). Arthur Rockwell of Yeager Capital Markets told today's (Friday) USA Today, "I would be surprised if Starship Troopers didn't open better than Ransom (1996), which broke records on the same weekend last year with $35 million. ... We're expecting big things from it." If the film succeeds as expected, some analysts predicted, TriStar would be well advised to turn it into a franchise. "If the picture hits big, " said Entertainment Data's Dan Marks, "there's no reason there couldn't be Starship Troopers Go to Venus ... There are lots of planets out there."

Starship Wars
7 November 1997 (StudioBriefing)
Critics are going bugs over Starship Troopers (1997), squaring off in a kind of inter-commentary battle about the merits of the sci-fi-invasion movie in which the invaders are giant insects. "Director Paul Verhoeven is back in his subversively nimble RoboCop groove, " cheers USA Today, which calls the film, "the year's most brazen summer (sic) blockbuster." A "squishy, senseless, putrescent romp, " the Washington Post's Rita Kempley calls it, adding, "It's exactly like Star Wars (1977) -- if you subtract a good story, sympathetic characters, intelligence, wit and moral purpose." But Philip Wuntch, film critic for the Dallas Morning News, calls the movie "a guilty pleasure, but it's definitely a pleasure." Gary Thompson in the Philadelphia Daily News calls the first hour of the film "idiotic" but gives praise for the ensuing special effects "as you should expect from a $100 million movie without a single marquee name to siphon money from the budget." At the Inquirer, Stephen Rea observes, "On a technical level, Starship Troopers takes the sci-fi film to a whole new realm." But Los Angeles Times critic Kenneth Turan opines that Troopers "certainly is a jaw-dropping experience, so rigorously one-dimensional and free from even the pretense of intelligence, it's hard not to be astonished and even mesmerized by what is on the screen." Adds Janet Maslin in the New York Times, the film leaves you wondering "how the big-ticket exploitation film mutated into its present form. The movie for everyone is, in this case, only for everyone who likes raw meat for breakfast." Finally, after trashing the film royally, Denver Post critic Steven Rosen confesses, "I sort of like it."

_starship Troopers (1997)_ (Qv) Win First Battle
2 September 1997 (StudioBriefing)
"Select media" who attended a 22-minute screening of scenes from Paul Verhoeven's sci-fi film Starship Troopers (1997) "loved" what they saw, Newsday columnist Liz Smith reported today (Tuesday).

Verhoeven May Direct Houdini Film
10 July 1997 (StudioBriefing)
Paul Verhoeven (Robocop (1987), Showgirls (1995), Starship Troopers (1997)) is close to signing a deal with Columbia to direct Houdini, Daily Variety reported today (Thursday). The trade paper said that the studio hopes to land Tom Cruise for the title role.