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 Daredevil: Born Again [Marvel - Printemps 2024]

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MessageSujet: Daredevil: Born Again [Marvel - Printemps 2024] Daredevil: Born Again [Marvel - Printemps 2024] Horlog11Jeu 19 Mai 2022 - 23:25

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MessageSujet: Re: Daredevil: Born Again [Marvel - Printemps 2024] Daredevil: Born Again [Marvel - Printemps 2024] Horlog11Mar 24 Mai 2022 - 22:38

C'est une excellente nouvelle ! :-) Plus qu'à espérer qu'une bonne partie du casting de la série d'origine soit de retour et pourquoi pas on peut toujours rêver des caméos de Jessica Jones, Punisher, etc ???

J'attends avec impatience la suite des aventures de Daredevil il y'a encore plein de persos/méchants qui peuvent être introduits dans cette nouvelle saison !


Futur 1000ème Happy Ghost de Phantom Manor ;-)

Voyage à Walt Disney World en solo prévu du 6 au 21 septembre 2022 !

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MessageSujet: Re: Daredevil: Born Again [Marvel - Printemps 2024] Daredevil: Born Again [Marvel - Printemps 2024] Horlog11Mer 25 Mai 2022 - 5:16

Very Happy Daredevil: Born Again [Marvel - Printemps 2024] 795199 cheers Daredevil: Born Again [Marvel - Printemps 2024] 904185
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MessageSujet: Re: Daredevil: Born Again [Marvel - Printemps 2024] Daredevil: Born Again [Marvel - Printemps 2024] Horlog11Dim 24 Juil 2022 - 5:11

Daredevil: Born Again sera diffusé sur Disney+ au printemps 2024.

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MessageSujet: Re: Daredevil: Born Again [Marvel - Printemps 2024] Daredevil: Born Again [Marvel - Printemps 2024] Horlog11Dim 24 Juil 2022 - 9:03

On va s’armer de patience. Very Happy
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MessageSujet: Re: Daredevil: Born Again [Marvel - Printemps 2024] Daredevil: Born Again [Marvel - Printemps 2024] Horlog11Mer 11 Oct 2023 - 17:35

Gros bouleversement : Marvel Studios réorganise toute son approche créative et de production de ses séries télévisées. Ils cesseront également d'embaucher des réalisateurs de cinéma pour réaliser des séries et embaucheront des producteurs de télévision. Ils réaliseront également des pilotes et des bibles de séries. Jusqu'à présent, Marvel Studios s'était reposé sur la post-production et les reshoots pour essayer de réparer après-coup ce qui ne fonctionnait pas, comme pour leurs films.

Les scénaristes et réalisateurs de la nouvelle série Daredevil ont été licenciés et le projet sera réorganisé avec une autre équipe.
Avant la grève des acteurs, moins de la moitié des 18 épisodes avaient été tournés. Tout ne sera pas abandonné, mais la série sera remontée.



The Hollywood Reporter a écrit:


Launched during the pandemic with a playbook to shoot $150 million-plus seasons with no pilots, the Disney unit is undergoing growing pains and seeing the logic of "traditional TV culture."

It didn’t take long to see the problem after Marvel Studios’ Daredevil: Born Again paused production in mid-June during the writers strike. Fewer than half of the series’ 18 episodes had been shot, but it was enough for Marvel executives, including chief Kevin Feige, to review the footage and come away with a clear-eyed assessment: The show wasn’t working.

So, in late September, Marvel quietly let go of head writers Chris Ord and Matt Corman and also released the directors for the remainder of the season as part of a significant creative reboot of the series, The Hollywood Reporter has learned. The studio is now on the hunt for new writers and directors for the project, which stars Charlie Cox as Matt Murdock, a blind lawyer turned superhero.

The Daredevil revamp is the latest in a series of growing pains for Marvel television. Since debuting the Emmy-winning WandaVision in January 2021, the studio, which dominated the film industry in the 2010s, has released more than 50 hours of TV programming after creating a small-screen division from the ground up during the pandemic.

Through it all, the company eschewed the traditional TV-making model. It didn’t commission pilots but instead shot entire $150 million-plus seasons of TV on the fly. It didn’t hire showrunners, but instead depended on film executives to run its series. And as Marvel does for its movies, it relied on postproduction and reshoots to fix what wasn’t working.

Even though they remain, along with Star Wars titles, the most watched shows on Disney+, Marvel series have recently faced a number of creative challenges and cries of diminishing returns from critics and audience metrics, causing a major shift at the studio to move to make TV shows the more traditional way.

“We’re trying to marry the Marvel culture with the traditional television culture,” says Brad Winderbaum, Marvel’s head of streaming, television and animation. “It comes down to, ‘How can we tell stories in television that honor what’s so great about the source material?’”

With Daredevil’s new direction, Marvel hopes to right the ship on a project with sky-high expectations. The show is Marvel’s first to feature a hero who already had a successful series on Netflix, running three seasons. But sources say that Corman and Ord crafted a legal procedural that did not resemble the Netflix version, known for its action and violence. Cox didn’t even show up in costume until the fourth episode. Marvel, after greenlighting the concept, found itself needing to rethink the original intention of the show.

Marvel plans to keep some scenes and episodes, though other serialized elements will be injected, with Corman and Ord becoming executive producers on the two-season series.

Daredevil is far from the first Marvel series to undergo drastic behind-the-scenes changes. Those who work with Marvel on the TV side have complained of a lack of central vision that has, according to sources, begun to afflict the studio’s shows with creative differences and tension. “TV is a writer-driven medium,” says one insider familiar with the Marvel process. “Marvel is a Marvel-driven medium.”

On the Oscar Isaac starrer Moon Knight, show creator and writer Jeremy Slater quit and director Mohamed Diab took the reins. Jessica Gao developed and wrote She-Hulk: Attorney at Law but was sidelined once director Kat Coiro came on board. Production was challenging, with COVID hitting cast and crew, and Gao was brought back to oversee postproduction, a typical showrunner duty, but it’s the rare Marvel head writer who has such oversight.

Even though the company does not have a writers-first approach to TV, directors could feel short-changed as well. “The whole ‘fix it in post’ attitude makes it feel like a director doesn’t matter sometimes,” says one person familiar with the process.

As its shows ramped up during the pandemic, Marvel stepped outside its usual staffing approach and brought in outside execs after years of internally promoting creatives who had been sufficiently trained in the Marvel method.

This change was felt most severely on Secret Invasion, the Samuel L. Jackson-led thriller that stands as Marvel’s worst-reviewed series. Kyle Bradstreet, a writer and executive producer on USA Network Emmy winner Mr. Robot, had been working on the scripts for Secret Invasion for about a year when he was fired after Marvel decided on a different direction. Enter new writer Brian Tucker, who penned the crime thriller Broken City. Thomas Bezucha, who helmed the thriller Let Him Go, and Ali Selim, who worked on Hulu’s 9/11 drama The Looming Tower, were on board as directors and to help crack the story.

So far, so normal, at least by Marvel’s creative development standards. Details are murky, but what happened next, in the summer of 2022, debilitated the production as factions became entrenched and leaders vied for supremacy during Secret Invasion’s preproduction in London. “It was weeks of people not getting along, and it erupted,” says an insider. Marvel declined to directly comment on the matter.

The company dispatched Jonathan Schwartz, a senior executive and member of Marvel’s creative steering committee known as The Parliament, to get Secret Invasion back on track when it was falling behind schedule and on the verge of losing some actors because of other commitments.

By early September, a good portion of the Invasion team had been replaced, with new line producers, unit production managers and assistant directors. And Bezucha, who was supposed to direct three episodes, left the show because of new scheduling conflicts. The Marvel executive overseeing the show, Chris Gary, was reassigned and, according to sources, is expected to depart Marvel when his contract is up at the end of the year.

As it moves forward, Marvel is making concrete changes in how it makes TV. It now has plans to hire showrunners. Gao’s postproduction work on She-Hulk helped Marvel see that it would be helpful for its shows to have a creative throughline from start to finish.

“It’s a term we’ve not only grown comfortable with but also learned to embrace,” says Winderbaum of showrunners and Marvel TV’s intention to hire them.

The studio also plans on having full-time TV execs, rather than having executives straddle both television and film.

“We need executives that are dedicated to this medium, that are going to focus on streaming, focus on television,” says Winderbaum, “because they are two different forms.”

It also is revamping its development process. Showrunners will write pilots and show bibles. The days of Marvel shooting an entire series, from She-Hulk to Secret Invasion, then looking at what’s working and what’s not, are done.

And just as Loki, which returned Oct. 5, marked Marvel’s first season two of a series (out of nine TV shows to date), the studio plans on leaning into the idea of multiseason serialized TV, stepping away from the limited-series format that has defined it. Marvel wants to create shows that run several seasons, where characters can take time to develop relationships with the audience rather than feeling as if they are there as a setup for a big crossover event.

Some of its next shows, in fact, promise to be more personal stories. Echo, which premieres in January, is a grounded crime story with few visual effects, revolving around deaf Native American antihero Maya Lopez (Alaqua Cox). Wonder Man, a show that was paused because of the writers and actors strikes, is meant to be a behind-the-scenes look at Hollywood and a character study of Simon Williams (Yahya Abdul-Mateen II), a superhero who has a side gig as an actor and stuntperson.

Winderbaum says he wants people to watch the shows because they love the characters. It should work, he says, “beyond the fact that it ties into [other projects] or if they are going to be in a movie or if it is setting up an Avengers film.”


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MessageSujet: Re: Daredevil: Born Again [Marvel - Printemps 2024] Daredevil: Born Again [Marvel - Printemps 2024] Horlog11Sam 20 Jan 2024 - 15:00

La production a repris.

The Hollywood Reporter a écrit:


The studio hopes to keep the momentum going as it seeks to keep the focus on its street-fighting heroes

Marvel Studios is starting out 2024 on a sturdy footing as it begins to refocus and rebuild its TV shows.

Coming off the strong opening of Echo, its crime series centered on Indigenous and deaf anti-heroine Maya Lopez, Marvel next turns its attention to Daredevil: Born Again, which restarts production Monday after a lengthy hiatus.

Philip Silvera, who acted as stunt and fight coordinator on the Netflix version of Daredevil that ran in the mid-2010s, has returned to the fold to act as stunt coordinator and second unit director for the new series.

His hiring is the latest example of the retooling Born Again underwent as it was changed from a legal procedural to something that aims to harken back to the gritty and violent tone of that first well-regarded series. It also reaffirms the show’s focus on more street-level heroics and less on heavy (and costly) visual effects.

Daredevil was in mid-production in New York when the writers and actors strike forced it to pause over the summer. When Marvel execs reviewed the footage, they had a change of creative heart and decided to go into a new direction. Writer Dario Scardapane, who worked on Netflix’s Marvel show The Punisher,  and the directing team of Justin Benson and Aaron Moorhead, who helmed episodes of season two of Loki, were brought in change the direction of the series.

Not only are Charlie Cox and Vincent D’Onofrio reprising their roles from the Netflix series of Daredevil/Matt Murdock and Kingpin/Wilson Fisk, respectively, but Jon Bernthal is back as the vigilante known as The Punisher.

And among other retooled elements, Deborah Ann Woll and Elden Henson are rumored to have been hired to reprise their roles of Karen Page and Foggy Nelson, key members of the Daredevil’s supporting cast. The characters were popular in the Netflix era series but had not initially made the transition to the Marvel series. The newfound addition, first reported by The Insneider newsletter, would remedy that oversight.

The show will not be 18 episodes as first announced or that of a typical  broadcast network season but will be more in line with the original Netflix series model of lower episode counts. Daredevil got a tease in Echo, whose mid-credits scene set up crime boss Fisk making a run at mayor of New York City.

Echo, meanwhile, bucked the downward trend of superhero screened entertainment by breaking out of the pack with its unique characteristics. It debuted number one on both Disney+ and Hulu, and established actress Alaqua Cox as a viable lead. The show has continued to remain in the spotlight with Cox making several talk show appearances this week and with the show’s director, Sydney Freeland, scheduled to appear at the Sundance Film Festival with a fireside chat at the IllumiNative’s Indigenous House on Sunday.

The show also had a halo effect for Marvel: Daredevil seasons one and two, Hawkeye, and Punisher season one received major audience bumps, according to insiders.

Marvel is interested in doing more with the character and is already developing new ideas as it seeks to build out its street-level heroes.


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