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Drama, Romance, Drama, Family 2022-11-11 Watch Movie or Download Now : The Fabelmans Quality Blu-ray
Growing up in post-World War II era Arizona, young Sammy Fabelman aspires to become a filmmaker as he reaches adolescence, but soon discovers a shattering family secret and explores how the power of films can help him see the truth.
Starring: Michelle Williams (Mitzi Fabelman), Paul Dano (Burt Fabelman), Seth Rogen (Benny Loewy), Gabriel LaBelle (Sammy Fabelman), Judd Hirsch (Uncle Boris), Jeannie Berlin (Haddash Fabelman)
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Cut to five years later: You’re watching the movie for the third time, in syndication on FX, while you’re visiting your relatives for Thanksgiving. Suddenly, the storyline feels a little racist. Those blue people look kind of silly. And don’t even get you started on that bizarre, tail intertwining sex scene. Don’t you worry. You can finally recapture the magic and relive the The Fabelmans glory days, because 20th Century Studios is releasing The Fabelmans in theaters this week, ahead of the release of The Fabelmans: The Way of the Water, which is scheduled to release in theaters on December 16, 2022. But if you really want to make James Cameron mad, you can also go ahead and rewatch The Fabelmans in the comfort of your own home. Here’s how.
In anticipation of the December release of The Fabelmans 2, aka The Fabelmans: The Way of the Water, the first 2009 The Fabelmans movie will be re-released in theaters nationwide, beginning on Friday, September 23. You can find a theatrical showing of The Fabelmans near you via Fandango. Because the movie has been out for over a decade, you can also watch The Fabelmans streaming on digital platforms at home. Read on to learn more.
Yes! The Fabelmans is available to buy or rent on digital platforms, including Amazon Prime, Apple TV, Vudu, and more. The price may vary depending on the platform you use to purchase the film, but The Fabelmans costs $3.99 to rent and $14.99 to buy on Amazon Prime.
No, sorry. The Fabelmans is not streaming on HBO Max at this time. If you want to watch the film at home, you’ll have to buy or rent it on Amazon Prime, Apple TV, Vudu, or another digital platform.
James Cameron revealed to The Times UK that before “The Fabelmans: The Way of Water” there was a full “The Fabelmans 2” screenplay that was written and then thrown into the trash. It turns out that at least an entire year of the 13-year gap between 2009’s “The Fabelmans” and 2022’s “The Way of Water” was spent on a screenplay that will never see the light of day.
“When I sat down with my writers to start ‘The Fabelmans 2,’ I said we cannot do the next one until we understand why the first one did so well,” Cameron said. “We must crack the code of what the hell happened.”
“There was a tertiary level as well…it was a dreamlike sense of a yearning to be there, to be in that space, to be in a place that is safe and where you wanted to be,” Cameron said. “Whether that was flying, that sense of freedom and exhilaration, or whether it’s being in the forest where you can smell the earth. It was a sensory thing that communicated on such a deep level. That was the spirituality of the first film.”
“When I sat down to write the sequels, I knew there were going to be three at the time and eventually it turned into four, I put together a group of writers and said, ‘I don’t want to hear anybody’s new ideas or anyone’s pitches until we have spent some time figuring out what worked on the first film, what connected, and why it worked,’” Camerons said.
“The Fabelmans” opens in theaters Dec. 16.
Instead, the multiplexes were about to be dominated by “The Fabelmans,” James Cameron’s science-fiction epic about a battle for natural resources between human colonists from Earth and the native Na’vi people of a distant moon called Pandora. “The Fabelmans” went on to become one of the most successful films of all time, grossing more than $2.8 billion worldwide and winning three Academy Awards.
To help reacquaint audiences with “The Fabelmans” — and with the 3-D filmmaking that dazzled audiences in 2009 — the first movie is being rereleased in theaters on Sept. 23. It’s a strategy that is, of course, intended to prime ticket buyers for the impending follow-up, but also to remind them of what was special about the original.
Calling from his studios in Wellington, New Zealand, the 68-year-old Cameron spoke about seeing “The Fabelmans” through new eyes, how the world has or hasn’t changed since its release and whether this onetime king of the world has maybe — just maybe — chilled out a little bit. These are edited excerpts from our conversation.
Have you watched the original “The Fabelmans” recently? What was that experience like?
And they were kind of like, “Oh. All right. Now I get it.” Which, hopefully, will be the general audience reaction. Young film fans never had the opportunity to see it in a movie theater. Even though they think they may have seen the film, they really haven’t seen it. And I was pleasantly surprised, not only at how well it holds up but how gorgeous it is in its remastered state.
Did you see details that you wished you could change?
I don’t think that way. It’s such an intense process when you’re editing a film and you have to fight for every frame that stays in. I felt pretty good about the creative decisions that were made back then. We spent a lot of time and energy improving our process in the decade-plus since. But there’s certainly nothing cringeworthy. I can see tiny places where we’ve improved facial-performance work. But it doesn’t take you out. I think it’s still competitive with everything that’s out there these days.
I think I felt, at the time, that we clashed over certain things. For example, the studio felt that the film should be shorter and that there was too much flying around on the ikran — what the humans call the banshees. Well, it turns out that’s what the audience loved the most, in terms of our exit polling and data gathering.
What do you think has changed about the movie industry in the years since its release?
People are craving that. We’re still down about 20 percent from prepandemic levels, but it’s slowly building back. Partly it’s been because of a dearth of top titles that people would want to see in a theater. But “The Fabelmans” is the poster child for that. This is the type of film that you have to see in a theater.
Does knowing audiences want that blockbuster experience put more pressure on you?
There’s a sense of responsibility to do the best job we can and make it a moneymaker. But I don’t how that translates artistically to any decision I make on the movie. I don’t say, Hmmm, let’s put that plant over there because we’ll make more money. It doesn’t work that way. When it’s good enough, you kind of know.
I’m not going to feel guilty because my movie didn’t save the world. I certainly wasn’t the only voice back then, and I’m certainly not the only voice now, telling people that they have to change. But people don’t want to change. We love to burn energy. We love to eat our meat and dairy.
Are you concerned that in the time between the original and the sequel, audiences will have lost their connection to the story or its characters?
I think I could have made a sequel two years later and have it bomb because people didn’t relate to the characters or the direction of the film. My personal experience goes like this: I made a sequel called “Aliens,” seven years after the first movie. It was very well received. I made a sequel called “Terminator 2,” seven years after the first movie. It did an order of magnitude of more, in revenue, than the first film.
I would either wear that hat on the first day of a new shoot, or I would wear my T-shirt that says “Time becomes meaningless in the face of creativity.” Just to shake up the studio a little bit. I don’t think I [wore] the HMFIC hat on the new “The Fabelmans.” This is the kinder, gentler me. This is the mellow, Zen nice guy, sensitive to everybody’s needs and emotional requirements. No microaggressions here. Which is usually good for about the first two weeks.
