Five Nights At Freddy’s Movie Producer ‘Made Fun Of’ Over Film

The movie adaptation of horror game franchise Five Nights at Freddy’s is just a few months away from its October 27 debut, and like many video game films, production on it has been in the works since at least 2015. Now, with Jason Blum (The Purge, Split, M3GAN) producing it, it’s finally got a release date, though it wasn’t an easy road to get there. According to a new interview, Blum was “made fun of” for taking on the project.

Originally released on Windows PC in 2014, Five Nights at Freddy’s is a spooky point-and-click adventure game set in a fictional pizzeria beset by possessed animatronics who stalk the premise at night. Played mostly through security cameras, players must survive evening after evening with the deadly robot animals. The series has gotten three main sequels and a bunch of spin-offs, with versions coming to consoles, mobile platforms, and even VR headsets.

In 2015, it was announced that Warner Bros. Pictures would bring the franchise to theaters via a film adaptation, though initial efforts fell through. Eventually the IP landed with Universal Pictures, with Emma Tammi and Jason Blum taking on director and producer roles respectively.

Jason Blum on FNaF film: ‘Everyone said we could never get the movie done’

Speaking to IGN, producer Jason Blum reflected on the difficult task of bringing Five Nights at Freddy’s to the big screen. Blum said that after the film struggled to find its footing early on, there was a sentiment that it was a lost cause.

“Everyone said we could never get the movie done,” Blum told IGN, “including, by the way, internally in my company.” But never shy of a challenge, Blum pushed forward, even if folks joked about the film’s prospects:

“I was made fun of for pursuing this, this thing that could never happen, and that always lights a fire under me to say, ‘I bet I can do this.’”

Blum on working with series’ creator Scott Cawthon for the FNaF film

Blum also reflected on what it was like to work with Scott Cawthon over the last few years. Saying that he’s “a really, really special person, a really creative person, probably more creative than he even gives himself credit for in some ways.” Getting the film’s aesthetic right was no easy task, but Blum feels strongly about the final product. “We finally found it,” he said “and we finally made the movie […] as you can hear by my voice, I’m extremely proud of the movie that we made together.”

Five Nights at Freddy’s arrives in theaters on October 27, 2023.

Witcher Producer Blames American Audience For Show Discourse

When the first part of The Witcher season three’s final season premiered on Netflix to a significant drop in viewership, it felt all but inevitable that the internet would plunge into insufferable online discourse over the once-promising fantasy book adaptation. In what can only be described as the real-life version of The Simpson’sAm I So Out Of Touch” meme, the executive producer of the show has chimed in on the conversation by putting blame on American audiences and TikTok users.

Last October, Netflix announced that Henry Cavill would not be returning for season 4 and would be replaced by Liam Hemsworth as its titular monster slayer, Geralt of Rivia. Netflix stretched out his final curtain call as Geralt by splitting up its third season into two parts. While the exact reason behind Cavill’s departure is still unclear, fans began to speculate whether it was over Cavill’s frustration with the show’s writers deviating from the books.

Some fans think Cavill was specifically displeased with the show’s oversimplification of the book’s key plot points and flattened characterization of the white-haired Butcher of Blaviken (which he shined at portraying), hence the departure. The series’ plot decisions have been contentious for fans, as well, so much so that a producer recently weighed in on the discourse.


Witcher producer says simplified plot is necessary for American audiences

In a recent interview with Polish news site Wyborcza (which was translated by The Witcher fan site Redanian Intelligence) producer Tomek Baginski explained that behind-the-scenes events, like a script rewrite after an actor got sick, lead to a lot of “controversial decisions” being made in the show. While Baginski says he understands why viewers who read the books would be “hurt” by a sudden change in the show, the decision to simplify plot points like The Witcher’s expansive geopolitics is often “necessary” when “a series is made for a huge mass of viewers, with different experiences, from different parts of the world, and a large part of them are Americans.”

“I had the same perceptual block when I presented Hardkor 44 [a never-made variation on the Warsaw Uprising] abroad years ago and tried to explain: there was an uprising against Germany, but the Russians were across the river, and on the German side there were also soldiers from Hungary or Ukraine,” Baginski told Wyborcza. “For Americans, it was completely incomprehensible, too complicated, because they grew up in a different historical context, where everything was arranged: America is always good, the rest are the bad guys. And there are no complications.”

Baginski continued, saying simplifications of plot points are just as painful for writers as it is for viewers but oversimplifications to an otherwise nuanced and complex topic are often “necessary” so that a show can reach a larger audience.


Read More: Can The Witcher Survive Henry Cavill’s Departure?

This isn’t the first time Baginski has blamed American sensibilities for certain show plot points. In an interview with the Polish YouTube channel Imponderabilia, Baginski singled out season two’s low viewership as a byproduct of younger viewers who frequent social media sites like YouTube and TikTok for having short attention spans.

“When it comes to shows, the younger the public is, the logic of the plot is less significant…Those people grew up on TikTok and YouTube, they jump from video to video,” Baginsk said, adding that young folks gravitate more toward “just emotions.”

When the interviewer chimed in and said they were part of the age range of viewers Baginski was talking about, the producer replied saying “Okay, so it’s time to be serious. Dear children, what you do to yourself makes you less resilient for longer content, for long and complicated chains of cause and effect.”

Anywho, if you had a long enough attention span to get to the bottom of this article, the entirety of The Witcher’s third season is available to watch now on Netflix.


Witcher Producer Says Fans Are Wrong, Writers Do Respect Books

Coming off the heels of The Witcher’s final season with Henry Cavill, an executive producer of the fantasy series came forward to address some fans’ accusations that the show’s writers don’t respect the books.

Spoiler warning for The Witcher Season 3.

Light spoiler warning for the start of The Witcher Season Three Volume Two.

On July 28, a day after the second half of The Witcher Season Three released on Netflix, executive producer Javier Grillo-Marxuach tweeted a reference to a scene in the sixth episode of the third season as a one-to-one recreation of what occurs in author Andrzej Sapkowski’s books as proof that the show’s writers pay close attention to how events transpire in the original story.

“For those who claim that we don’t read/respect the books, the writers’ draft of The Witcher 306 ABSOLUTELY began with Dykstra holding Geralt at knifepoint as he pissed into a plant,” Grillo-Marxuach wrote. “I have the pages to prove it.”

However, some were quick to point out that Grillo-Marxuach’s efforts to prove that show writers pay close attention to the books were undermined by both his misspelling of Dijkstra’s name and fans’ claim that the aforementioned scene doesn’t play out how he says it does in the books.

Although the events do transpire relatively close to what Grillo-Marxuach states occur in Sapkowski’s books, IGN notes that the scene isn’t an exact representation of what happened in the novels. According to IGN, Dijkstra guards are the ones who restrain Geralt in the English translation of the books. Though to be fair to Grillo-Marxuach, even the most die-hard Witcher fans scrutinize the English translation of the books. All that being said, it is a bit distressing that The Witcher series discourse has ramped up to the point that writers feel compelled to use this specific scene to beat fan allegations that show writers actively dislike Sapkowski’s books.


Read More: Witcher Producer Blames Young American Audience For Viewership Decline

The Witcher discourse is at an all-time high with Cavill’s exit

Since The Witcher debuted on the streamer in 2017, the show has faced an uphill battle with fans for its peculiar pacing and introduction of small deviations of events that transpire in Polish writer Sapkowski’s novels. The latter point of contention furthered rumors among fans that Geralt actor Cavill, who is a fan of the books, announced his departure from the show at the end of its third season to be replaced by Hunger Games actor Liam Hemsworth, because of his frustration with Witcher showrunners deviation from the books. Although the real reason for Cavill’s departure is unknown, his final season on the show saw a drop in viewership, which led a producer to place the blame squarely on the short attention span of younger viewers.

In a reply to a comment saying the show’s discourse comes from rumors and “flat-out lies” from bad faith viewers jumping on a hate campaign without reading the novels, Grillo-Marxuach said, “Those of us who know what really went down behind the scenes know what really went down behind the scenes. I stand behind the work, and my boss, 100 percent.”

Read More: The Witcher Season 3 Ended As It Began—Messily

In a separate reply to a fan inquiring about how the show will explain Geralt’s new appearance in Season Four of The Witcher, Grillo-Marxuach replied saying, “It will be done in a way that is very much in line with the thematic spirit of the books.”

In Kotaku’s commentary for The Witcher Season Three, Alyssa Mercante said: “The series can be so convoluted that I wonder if my knowledge of the lore is harming more than helping, as I struggle to recall events that happened seasons ago and wonder if I’m actually remembering something from the books.” All things considered, Mercante still plans on watching the upcoming Ciri-led season.


Tekken Producer Has Had Enough With The ‘Silly’ Death Threats

No one likes death threats or otherwise intimidating remarks that threaten violence. Such comments are callous, dehumanizing, pointless, unproductive, and do nothing for anyone. Tekken producer Katsuhiro Harada made that expressly clear, telling folks to not ask him for shit if all they’re going to do is send warning shots.

Read More: Tekken Players Are Debating How ‘Anti-Beginner’ The Series Is

Harada has been associated with Bandai Namco’s long-running 3D fighting game franchise since its 1994 inception, starting out as a voice actor for characters like Bruce Lee-clone Marshall Law and roboninja Yoshimitsu before becoming a director of Tekken 3 and executive producer of Tekken 6. Now Tekken 8 is on the horizon, with Harada serving as the director of the upcoming brawl-em-up. Ahead of its still unannounced release, the last installment made an appearance at this year’s Evolution Championship Series (EVO) tournament. It was a huge event, the biggest the competition has seen to date, filled with heartfelt moments and melting accessories. But not long after its conclusion, which came with its fair share of game-related announcements, Harada allegedly found himself on the receiving end of some truly unnecessary threats of violence.

Harada: Threatening developers leads nowhere good

Harada tweeted on August 9 a screenshot of someone saying they’ll hit him “with a burning hammer” if longtime Tekken capoeira fighter Eddy Gordo doesn’t appear in Tekken 8. See, even though the game’s not out yet, a leaked roster has led folks to believe the game will be missing various characters, Eddy being one of them. Other mainstays that aren’t on the purported list include the aforementioned Yoshimitsu, pretty boy boxer Steve, and demon hottie Devil Jin, which if true, is a bummer. But again, the game doesn’t even have a release date yet, and the info is unconfirmed. That hasn’t stopped folks from saying they’ll hurt Harada.

“When people make these silly threats,” Harada said on X (formerly Twitter), “I and everyone [in the fighting game community suffers] the following losses.”

The first “loss,” he wrote, is that because of these threats of violence, event organizers overreact and increase security, which raises both operating costs and attendee anxiety. If the threat is bad enough, the event will even ask Harada to cancel his appearance. Another is that “company founders, board members, and lawyers” dislike intimidation tactics, and may ultimately prompt them to cancel the inclusion of an asked-for character who was previously planned to appear.

“By enthusiasts behaving excessively, repeating these words and actions, or Fake information and hoaxes, or Threats, the motivation of the development staff will decrease rapidly,” Harada said in conclusion. “And as a result, the requests of enthusiasts will be far from being realized.”

In the end, Harada summarized his point saliently with a single quote retweet, referencing a t-shirt he once infamously wore to a Tekken tournament:

“Don’t ask me for shit,” he wrote.

Read More: Tekken 8 Has Special Character Intros For Lore Nerds

Kotaku reached out to Bandai Namco and Harada for comment.


Netflix’s One Piece Season 2 Scripts Are Done, Says Producer

The producers of Netflix’s surprisingly popular One Piece live-action series say scripts for a potential second season are done and the show could return on the streamer as early as next year.

In an interview with Variety, Marty Adelstein, the CEO of Tomorrow Studios (the folks who made the One Piece live-action series as well as Netflix’s swiftly canceled Cowboy Bebop live-action series) confirmed that, “We’ve got scripts ready.” The caveat, however, is that production of a possible second season of the One Piece live-action series can’t start until Hollywood’s SAG-AFTRA strike is resolved.

“Realistically, hopefully, a year away, if we move very quickly, and that is a possibility,” Becky Clements, president of Tomorrow Studios, told Variety. “Somewhere between a year and 18 months, we could be ready for air.”


Read More: Netflix’s One Piece Live-Action Series Delivers More Than It Disappoints

A faithful and charming live-action anime adaptation, the Netflix series has become something of an anomaly in the anime community since its August 31 premiere: a rare success story. It debuted as the top show on the streamer with 18.5 million views—a feat Clements says “exceeded” Netflix’s expectations.

“I think [Netflix is] looking at various situations about how many episodes they do, do they break them up?” Adelstein said. “I think they’re trying to figure that out this week. I suspect we’ll hear from them in the next week to two weeks. There seems to be a big impetus to keep this going and to come up with a long-term strategy. So we’re just waiting for that.”

Adelstein told Variety that a potential second season of Netflix’s One Piece series needs to expand its audience beyond just existing fans of the series, a process he said the first season had already started.

“We’re getting a lot of family viewing and that is really the key, is to bring in the non-fans and people who aren’t aware of the IP because the show stands on its own and you get people to watch it and people really love it,” Adelstein said.

In our review of Netflix’s One Piece, we said the show “is one of the rare well-made live-action anime adaptations” that is “full of heart, from its vibrant set and wardrobe designs to the disarmingly charming found-family dynamic that the live-action crew so effectively exudes.”


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