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Guy Ritchie Attached to Direct Warren Ellis' Excalibur Movie?

by
March 4, 2010
Source: Pajiba

Guy Ritchie

A little while back heard some rumblings that Bryan Singer was potentially attached to direct a new King Arthur story appropriately called Excalibur. Apparently that project is just a straight up remake of John Boorman's 1981 film of the same name, and has nothing to do with the Warren Ellis treatment we heard about a little while back that more specifically focuses on the gathering of the Knights at the Roundtable. That Ellis treatment is the one that looks like it has a director attached, as Pajiba reports that Guy Ritchie (Snatch, Sherlock Holmes) has been attached to direct the feature, also titled Excalibur, for Warner Bros.

This makes yet another interesting choice for Ritchie as a director who has found some mainstream steam thanks to Sherlock Holmes. However, with Ritchie looking to get Sherlock Holmes 2 under his belt, there's still some time before we'll see any real development. But since Ellis has a full treatment potentially going out to new writers for scripting, there's a good chance this will get off the ground before Singer's version, since that one doesn't even have a writer yet and Singer's future slate is pretty damn full. Of course, we have to remember, this is Hollywood, and anyone can be attached to a project one week and have nothing to do with it the next. Guy Ritchie himself dumped DC Comics' Lobo for a Holmes sequel, so anything can happen.

For those curious, this is indeed the same Warren Ellis who was worked on many different comics, including Planetary, Transmetropolitan, Ultimate Fantastic Four, Dr. Strange and Red (which is already being made into a movie). At one point in the 90s, he actually worked on a Marvel comic called Excalibur as well, an X-Men offshoot about a group of superheroes in the UK, but it sounds like that has no relation to this. We'll definitely keep you updated on Excalibur and will let you know if we hear anything about this. Thoughts?

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  • Cody
    Noooooo...I dont care, I want The Real RockNRolla.
  • http://iconocritic.com peloquin
    What do you mean by "the real RockNRolla" Cody?
  • Xerxex
    I'm with Cody Johnny, Archie and The Wild Buch need to come back! #2 Ritchie planned to do two sequels to Rock n Rolla.
  • http://iconocritic.com peloquin
    ah okay, thanks for clearing that up Xerxex. I doubt there will ever be a sequel to the underwhelming RocknRolla though even though personally I enjoyed it.
  • http://www.firstshowing.net Alex Billington
    #3/4 - I asked Guy Ritchie in our most recent interview with him if we'd ever see the RocknRolla trilogy finish. He said: "I hope so, is all I can say to that, I hope so... But I need to sell a couple more DVDs and I'm your man."
  • http://iconocritic.com peloquin
    Thanks for the info Alex, maybe that's why he's doing all these studio projects so he can collect enough $ to finish the trilogy himself. Either way though, I hope it happens someday.
  • Xerxex
    I hope it happens, there is so much potential in the characters and the story of RocknRolla.
  • Capo
    I want The Real RocknRolla and i really want to see The Gamekeeper too
  • DoomCanoe
    i want Snatch oh wait... god i love the fuck out of that movie. ima watch it right now
  • Cody
    Exactly sooo much potential in all those characters Id hate to see them just abandoned...Archie is the biggest badass ever to hit the screen.
  • Excalibur Fan
    Few words strike an icier cord of despair and sadness in the hearts of any film fan that the words “Hollywood remake.” Whatever film some inept bureaucrat, fawning director or cinema sycophant has chosen to remake is irrelevant, because it is always—100% of the time, without exception—a blundering desecration of the original. Okay, I am being harsh. I can think of five remakes that were worthy to be made. Five out of the entire history of film, so the math is in my favor. Because Hollywood has abandoned any claim to being remotely original, being run now as it is by accountants and unsophisticated directors, it is an industry caught up in the down-spiral of stealing from other media, or as is the point of this entry, remaking a film from a bygone age. Now, a quick word on mental health. I have to remind myself that getting angry at Hollywood for its demoralizing and culture-softening addiction to “remakes” and “re-imagined” franchises is as futile as chiding the thief of stealing, the liar for lying, the drunk for drinking, or the murderer for murdering. Judging lesser minds by higher standards is pointless because, by being lesser minds, they cannot be elevated to grasp higher reason, critical thinking, analytical prowess, or in this case, of fresh story telling. So, the rest of us have to endure another dull summer of knock-offs and re-hashed old plots, tired dialog and over-worked special effects. I suppose it was inevitable that Hollywood would eventually destroy my most beloved film of all time, John Boorman’s lush, mystic and erotic Excalibur. The very fact they are “remaking” Excalibur shows how unpardonable and unsalvageable their lack of imagination and education has become. The Arthurian romances are second only to Greek mythology in sheer volume and weight of impact to the western world. From as far back as the Annales Cambriae and Historia Brittonum, up through Geoffrey of Monmouth’s Historia Regum Britanniae, Thomas Malory’s Le Morte d’Arthur to Alfred, Lord Tennyson’s Idylls of the King, you have hundreds of Arthurian additions and interpretations, island and continental, from which to choose: entries, poems, legends, folklore, stories and faux histories abound. All that to say, you could go into any library, find the Arthurian section, and pick a book blindfolded, at random, and have an entire librum of options for new passes at Britain’s most famous king. Oh, no. That might require reading. That might require having more than a fucking 4th grade education. This re-make has built into it its own test. Like the Holy Grail, no one to date mentioned or associated with this proposition is worthy of taking it up. “There are none worthy. No, not one.” Excalibur is too elemental, to primordial a work to be weakly half-grasped by the effete filmmakers and sterile scriptwriters at work in Hollywood today, where rampant political correctness has annihilated the verve of former ages. Furthermore, the complex nuances that form the vorpal meridian between the Old Faith and the New Faith that meet in the film lies far beyond the dull, empty-headed bong fog of most music video directors. The inevitable and uneven social phasing from the arboreal, carnal paganism to the idealized and chivalrous Christianity is far too intelligent and uncomfortable a topic of the American film industry to address. Add to this the supreme irony that the advent of Christendom in war-wracked, post-Pendragon England is made possible by Arthur’s use of the supreme pagan tool, Excalibur, and you have a beautiful cultural fugue of motive and counter-motive that, at once, disqualifies most modern movie makers. Excalibur is too balanced, too comfortable with opposites, almost too paradoxical (though only in appearance) to have any hope of being thematically remade in the lop-sided psyche of the West Coast. They do not see both sides. They see only their side. Excalibur, by design or by accident, is above such small-minded partisanship. We don’t have genuine filmmakers in America. In most cases we have powerful, biased, close-minded ideologues who use the visual medium of film to advance their dogma, and punish any dissent to their latest social and historical formulas. Absolutely no counter-arguments are permitted; disputes are not countenanced and free thinking is marginalized. Excalibur was made 30 years ago in a far braver and more imaginative America than the one we live in. Honestly, sometimes it is hard to bring myself to even associate with an industry this creatively bankrupt. I’m done caterwauling.
  • Jensen_34
    The guy above me has been laid zero times.

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