I've enjoyed watching most of Alex Proyas' films such as The Crow, Dark City, even I, Robot. I don't know what the hell happened with Knowing, but that movie sucked ass.
Proyas has landed another directing gig with Legendary Pictures called Paradise Lost, and it's based on the 17th-century English poem by John Milton. This is the kind of story that has the potential to be one hell of an epically incredible film.
The movie is about the epic war in heaven between archangels Michael and Lucifer, and will be developed as an action vehicle that will include aerial warfare, possibly shot in 3D.
This seems like some great material for Proyas to work with. I think he has the talent to do some pretty incredible things here, and I'm looking forward to seeing what he does with it!
Legendary's Thomas Tull and Jon Jashni will produce along with Vincent Newman (A Man Apart) through his eponymous banner.
Stuart Hazeldine developed the primary draft of the screenplay, which was written by Byron Willinger and Philip de Blasi. Then we have Lawrence Kasdan and Ryan Condal have both polished up the script.
Here is the full synopsis of the Poem for those that are interested:
Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton. It was originally published in 1667 in ten books, with a total of over ten thousand individual lines of verse. A second edition followed in 1674, redivided into twelve books (in the manner of the division of Virgil's Aeneid) with minor revisions throughout and a note on the versification; the majority of the poem was written while Milton wasblind, and was transcribed for him.
The poem concerns the Christian story of the Fall of Man: the temptation of Adam and Eve by the fallen angelSatan and their expulsion from the Garden of Eden. Milton's purpose, stated in Book I, is to "justify the ways of God to men" and elucidate the conflict between God's eternal foresight and free will.
Milton incorporates Paganism, classical Greek references, and Christianity within the poem. It deals with diverse topics from marriage, politics (Milton was politically active during the time of the English Civil War), and monarchy, and grapples with many difficult theological issues, including fate, predestination, the Trinity, and the introduction of sin and death into the world, as well as angels, fallen angels, Satan, and the war in heaven. Milton draws on his knowledge of languages, and diverse sources – primarily Genesis, much of theNew Testament, the deuterocanonical Book of Enoch, and other parts of the Old Testament. Milton's epic is generally considered one of the greatest literary works in the English language.
The story is separated into twelve books, broken down shortly after initial publication, following the model of the Aeneid of Virgil. The books' lengths vary; longest being Book IX, with 1,189 lines, and the shortest Book VII, having 640. In the second edition, each book was preceded by a summary titled "The Argument". The poem follows the epic tradition of starting in medias res (Latin for in the midst of things), the background story being told in Books V-VI.
Milton's story contains two arcs: one of Satan (Lucifer) and another of Adam and Eve. The story of Satan follows the epic convention of large-scale warfare. It begins after Satan and the other rebel angels have been defeated and cast by God into Hell, or as it is also called in the poem, Tartarus. In Pandæmonium, Satan employs his rhetorical skill to organize his followers; he is aided by his lieutenants Mammon and Beelzebub. Belial and Moloch are also present. At the end of the debate, Satan volunteers himself to poison the newly created Earth. He braves the dangers of the Abyss alone in a manner reminiscent of Odysseus or Aeneas.
The story of Adam and Eve's temptation and fall is a fundamentally different, new kind of epic: a domestic one. Adam and Eve are presented for the first time in Christian literature as having a full relationship while still without sin. They have passions and distinct personalities. Satan successfully tempts Eve by preying on her vanity and tricking her with rhetoric, and Adam, seeing Eve has sinned, knowingly commits the same sin. He declares to Eve that since she was made from his flesh, they are bound to one another so that if she dies, he must also die. In this manner Milton portrays Adam as a heroic figure, but also as a deeper sinner than Eve, as he is aware that what he is doing is wrong.
After eating the fruit, Adam and Eve have lustful sex, and at first, Adam is convinced that Eve was right in thinking that eating the fruit would be beneficial. However, they soon fall asleep, having terrible nightmares, and after they awake, they experience guilt and shame for the first time. Realizing that they have committed a terrible act against God, they engage in mutual recrimination.
However, Eve's pleas to Adam reconcile them somewhat. Her encouragement enables Adam and Eve both to approach God, to "bow and sue for grace with suppliant knee," and to receive grace from God. Adam goes on a vision journey with an angel where he witnesses the errors of man and the Great Flood, and is saddened by the sin that they have released through consumption of the fruit. However, he is also shown hope—the possibility of redemption—through a vision of Jesus Christ. They are then cast out of Eden and the archangel Michael says that Adam may find "A paradise within thee, happier far." They now have a more distant relationship with God, who is omnipresent but invisible (unlike the previous, tangible, Father in theGarden of Eden).