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大富豪电玩城777采用百度引擎4(Baidu 3)This Week s Ketchup brings you more headlines from the world of film development news, covering such titles as Animorphs, Attack the Block 2, and new roles for Oscar Isaac, Will Smith, and Kristen Stewart.This WEEK S TOP STORYWILL SMITH, ANTOINE FUQUA TEAM UP FOR SLAVERY-ERA THRILLER EMANCIPATION(Photo by Kristin Callahan/Everett Collection)In 1863, the still experimental new science of photography gave the world one of its earliest and most shocking demonstrations of the adage that a picture is worth a thousand words when an escaped slave named Peter was photographed to reveal his back scarred by countless whip lashes. And now, Peter s story will be told on the big screen, thanks to Will Smith who turned down the opportunity to star in Quentin Tarantino s slavery-era revenge flick Django Unchained  and director Antoine Fuqua, who normally works in the action-thriller genre with movies like Training Day, Olympus Has Fallen, and The Equalizer. Smith will produce and star in the film, called Emancipation, which will be a biographical thriller about the life of the slave named Peter as depicted in that early photograph. Smith and Fuqua expect to start production of Emanciation in early 2021, after Fuqua finishes filming the drama Infinite and after Will Smith wraps filming of King Richard, about the life of Richard Williams, the father of future tennis stars Serena and Venus Williams. The announcement of Emancipation is timely this week as the Juneteenth holiday has its origins in the commemoration of the Emancipation Proclamation in Texas on June 19th, 1865.Other Top Headlines1. ACADEMY AWARDS DELAYED TO APRIL OF 2021(Photo by Getty Images)As this year s COVID-19 pandemic has continued to delay the releases of dozens of films, there has been a steady number of articles wondering online how this year s shortened release calendar will impact the Academy Awards. The issue at hand was not only that there will be fewer films released in 2020, but also that the later months will be crowded with films originally scheduled for earlier in the year (i.e. when will the awards season movies be released?). This week, the mystery was (at least partially) addressed, as the Academy of Motion Picture Arts and Sciences has indeed delayed the 93rd Academy Awards until April 25, 2021 (pushed back two months from Febraury 28, 2021). As part of this delay, the window for eligibility will also be extended all the way to February 28, 2021. This delay potentially will have a particularly strong impact on the Sundance Film Festival, which is annually held in January after the end of awards season, as this new delay means Sundance will now be held a month before the deadline instead of after. (The Berlin and Cannes Film Festivals have already announced that the change will not impact their scheduling.) In (very) related news, the BAFTAs have also delayed their next ceremony until April 11, 2021, just two weeks before the new Academy Awards date.2. EDGAR WRIGHT LINKING UP WITH X-MEN: FIRST CLASS WRITER FOR THE CHAIN(Photo by Wilson Webb/©TriStar)For fans of the Marvel Cinematic Universe, one of the still mysterious What If ? scenarios (not to be confused with the upcoming animated Disney+ series What If ?) involves the version of the first Ant-Man movie that would have been directed by Edgar Wright (Hot Fuzz, Shaun of the Dead), who eventually dropped out of the production. Well, this week s news isn t exactly that, but we did get confirmation of a movie called The Chain that will effectively align Wright with a screenwriter, Jane Goldman, who actually has worked on some Marvel movies (X-Men: First Class, X-Men: Days of Future Past), as well as the non-Marvel comic book adaptation Kingsman: The Golden Circle. Goldman and Wright will deliver the adaptation of Adrian McKinty s 2019 novel The Chain for Universal Pictures, who picked up the project after it had previously been eyed by Paramount Pictures last summer. The Chain tells the story of a mother of a kidnapped 11-year-old daughter who discovers that the only way to get her own child back is to kidnap somebody s else child (hence, The Chain). Wright s next film before The Chain will be Last Night in Soho, starring Anya Taylor-Joy and Jojo Rabbit star Thomasin McKenzie, which is now scheduled for April 23, 2021 after its 2020 release was delayed by the COVID-19 pandemic.3. JOHN BOYEGA MAY GET HIS ATTACK THE BLOCK SEQUEL AFTER ALL (Photo by Liam Daniel/©Screen Gems courtesy Everett Collection)During a recent protest event, Star Wars star John Boyega wondered aloud, I don t know if I m going to have a career after this, but several directors and studios were quick to respond online, saying that they would indeed be eager to work with Boyega on future projects. One of those filmmakers appears to have been Joe Cornish (The Kid Who Would Be King), who not only like Wright above worked on Marvel s Ant-Man, but also gave John Boyega one of his earliest leading roles in the 2011 science fiction film Attack the Block (Certified Fresh at 90%). Speaking recently on the Script Apart podcast, Cornish revealed that he has met with Boyega to discuss ideas for an Attack the Block sequel, although he didn t reveal what it might be about (except that the setting would have to acknowledge the 10+ years since the events of the first movie). Cornish is currently also developing a TV movie adaptation of the cyberpunk novel Snow Crash for HBO Max, and Boyega s upcoming films include Naked Singularity and Rebel Ridge.4. THIS WEEK IN OSCAR ISAAC NEWS: ARMAGEDDON TIME, LONDON, THE CARD COUNTER (Photo by Melinda Sue Gordon/Netflix)Speaking of John Boyega, one of his Star Wars co-stars has, like Boyega, had to dedicate much of the last several years to the Star Wars franchise, but that s all over now, so he s back to beefing up his other credits. That co-star is Oscar Isaac, and in addition to co-starring in Denis Villeneuve s highly anticipated upcoming adaptation of Dune (12/28/2020) (which will soon resume filming for reshoots), Isaac will also continue filming his lead role in Paul Schrader s The Card Counter in Mississippi in early July. On top of that, Isaac also joined two other new projects this week, one of which is Armegeddon Time for director James Gray (Ad Astra, Certified Fresh at 84%), an ensemble drama set at a prestigious private school in the 1980s in which his co-stars will be Robert De Niro, Anne Hathaway, Donald Sutherland, and Cate Blanchett. Isaac s other new project is a thriller called London based on a short story by Norwegian author Jo Jo Nesbø and directed by Ben Stiller, which is quite a departure for him. The premise London is being kept under wraps, but it s adapted by Eric Roth, whose previous films include Forrest Gump, Ali, Munich, the 2018 version of A Star is Born, and soon, the aforementioned remake of Dune.5. KRISTEN STEWART TO STAR AS PRINCESS DIANA SPENCER (Photo by Priscilla Grant/Everett Collection)In Season 3 of Netflix s The Crown, the cast changed to introduce Olivia Colman as the older Queen Elizabeth and Ben Daniels (Emma.) as a young Prince Charles. Although the new additions also included Emerald Fennell as Camilla Shand, the future Duchess of Cornwall, fans of the show will have to wait until Season 4 to see Emma Corrin join the series as Princess Diana (though you can see some set photos of her in costume here). The Crown will soon have competition, though, in the form of a new feature film about the life of Princess Diana, as Kristen Stewart is now attached to star in the film called Spencer (after Princess Di s maiden family name). Spencer will be directed by Pablo Larrain, who is probably best known for directing a biographical film about another influential female political figure, Jackie (Certified Fresh at 87%), which starred Natalie Portman as Jacqueline Kennedy in the period immediately after JFK s assassination. Similarly, Spencer will not be a biopic about Princess Diana s entire life, but will instead focus on three of the final days of her troubled marriage to Prince Charles. This is not the first time Kristen Stewart has starred in a biopic, as she also played the young Joan Jett in 2010 s The Runaways (Fresh at 70%) and actress-turned-activist Jean Seberg in last year s Seberg (Rotten at 34%).6. TENNIS STAR ARTHUR ASHE BIOPIC FROM DA 5 BLOODS SCREENWRITER (Photo by Harry Dempster/Getty Images)Decades before Venus and Serena Williams ever picked up a tennis racket, Arthur Ashe made sports history as the first African American man to win a singles title at Wimbledon, the U.S. Open, and the Australian Open, among other accomplishments. Following a heart bypass surgery in the 1980s, Ashe was diagnosed with AIDS, which led to his founding two different health organizations before his death in 1993. A biopic about the life of Arthur Ashe is now in development, to be produced by Hyde Park Entertainment (Blue Valentine, Machete) and Warner Music Group. The film will be adapted by screenwriter Kevin Willmott, who won a Best Adapted Screenplay Academy Award for co-writing 2018 s BlackKklansman (Certified Fresh at 96%), and who also wrote 2015 s Chi-Raq (Certified Fresh at 82%) and the recent Netflix film Da 5 Bloods (Certified Fresh at 92%), all of which were directed by Spike Lee. Arthur Ashe is survived by his wife, photographer Jeanne Moutoussamy-Ashe, and their daughter Camera, named after her mother s profession. Warner Music Group is expected to help secure music for the Arthur Ashe biopic from the extraordinary works of the era by such artists as Aretha Franklin, Prince, Curtis Mayfield, and others. 7. TESSA THOMPSON TO STAR IN TRIPPY THRILLER BALESTRA(Photo by Marvel Studios)In the sport of fencing, a balestra is a leap forward usually followed by an aggressive lunge attack. Balestra also happens to be a pretty cool-sounding title for a movie, specifically one starring Tessa Thompson, whose profile has risen in recent years thanks to roles in Marvel s Thor: Ragnarok, HBO s Westworld, and Boots Riley s Sorry to Bother You, among other things. Thompson is now executive producing and will star in a psychological thriller called Balestra, playing a disgraced competitive fencer hoping for an Olympic comeback who receives a new device designed to help her train while she s lucid dreaming, until she gets caught in her own web of subconscious desires and unfulfilling reality. Balestra will be an independent production directed by Nicole Dorsey (Black Conflux) and will co-star Marwan Kenzari, A.K.A. Sexy Jafar from Disney s recent live-action remake of Aladdin.8. SATURDAY NIGHT LIVE STARS COLIN JOST AND PETE DAVIDSON (Photo by NBC/Getty Images)Staten Island may be the smallest borough of New York City (by population), but it s also currently the hometown of two current Saturday Night Live cast members, namely Colin Jost and Pete Davidson. Davidson also recently starred in Judd Apatow s The King of Staten Island (Fresh at 70%), which had its streaming debut last Friday (6/12/2020). Soon, though, Jost and Davidson will have something else in common, as they are now both signed to star in the Universal Pictures comedy Worst Man. As the title suggests, Worst Man will be a wedding-themed comedy about the family dramatics that ensue just weeks before the wedding, but it s currently unclear what roles Jost and Davidson will play presumably one of them will be the groom, and the other will be the best (worst?) man, and you get no points for guessing which of them is most likely to play which role. Colin Jost s next movie will be the live-action/CGI hybrid comedy Tom and Jerry (3/5/2021), and Pete Davidson will have a supporting role in next year s soft reboot of The Suicide Squad (8/6/2021).9. ELIJAH WOOD TO STAR IN TED BUNDY DRAMA NO MAN OF GOD(Photo by Daniel C. McFadden/©IFC Midnight courtesy Everett Collection)In 2012, Lord of the Rings franchise star Elijah Wood played against type by starring as a serial killer in the Maniac remake (Rotten at 53%). For his next film, Wood is stepping around to the other side of the interrogation table, quite literally, as he will star as serial killer Ted Bundy s FBI analyst Bill Hagmaier in the crime thriller No Man of God, based on the real life transcripts of their conversations from 1984 to 1989. (The real life Bill Hagmaier was also featured in episode 4 of Netflix s 2019 mini-series Conversations with a Killer: The Ted Bundy Tapes). Indie filmmaker Amber Sealey (How to Cheat, No Light and No Land Anywhere) will direct No Man of God from a screenplay by screenwriter C. Robert Cargill (co-writer of Sinister, Sinister 2, and Doctor Strange).10. 1990s NOSTALGIA CONTINUES WITH ANIMORPHS (Photo by Nickelodeon courtesy Everett Collection)Starting in June of 1996, Scholastic started publishing a series of over fifty children s science fiction novels known as the Animorphs series. Hollywood s penchant for capitalizing on the nostalgia of decades 20 to 30 years in the past means the 1990s are currently super en vogue. That s pretty much all you need to know not to be surprised by this week s news that development has started on an Animorphs movie. As in the books, Animorphs will tell the story of a group of five teenagers with the ability to transform into various animals who then have to use their super powers to prevent a secret alien invasion of Earth. Scholastic Publishing has, to date, published over 35 million copies of Animorphs books, and there was also a Canadian Animorphs TV series in the late 1990s. The Animorphs movie is being developed by producer Erik Feig, whose credits include the Step Up dance franchise, the Wrong Turn horror franchise, and the spy movies Mr. and Mrs. Smith and The Spy Who Dumped Me.

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在腾讯视频APP下载并注册妄想山海手游,在活动期间内新注册玩家等级达到对应等级,还可额外领取游戏专属成长等级礼包! Binge Guide: 5 Shows to Watch If You Love Horror Looking for the scariest stuff on TV? Here are a few selections from our list of the "Best Horror TV Shows of All Time." by RT Staff | October 30, 2020 | Comments

2. 公平游戏环境
This October, Tom Hardy returns to the big screen as Eddie Brock in Venom: Let There Be Carnage, a sequel to the smash hit film in which we first met the dogged journalist and his foul-mouthed (and very hungry) symbiote. The new film is directed by Andy Serkis and co-stars Woody Harrelson as Carnage, the fan-favorite villain teased at the end of the original film.Ahead of the movie’s release, Rotten Tomatoes correspondent Erik Davis spoke with Serkis, Hardy, Harrelson, and Naomie Harris (who plays another villain, Shriek) about what’s in store for audiences in the “lean and mean” sequel, the developing bromance between Brock and Venom, and what finally drew Harrelson to the Marvel family.Plus, Hardy – as star and producer – reveals he’s “100%” in on crossover movies and the multi-verse… Hear that, Mr. Holland?Venom: Let There Be Carnage is in theaters from Friday October 1, 2021.On an Apple device? Follow Rotten Tomatoes on Apple News.大富豪电玩城777而手游版洛克王国终于也跟玩家们走的越来越近,5月16日在腾讯游戏发布会上,完整版全新的洛克王国手游首支预告片也出现在我们面前,今天就来说一说洛克手游会在今年掀起什么手游风波!

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Version 6.96.02022-01-18

7.51.1 9月喜迎(Photo by Buena Vista Pictures)In the summer of 1989, Tim Burton’s Batman took the box office by surprise, decades before movies based on comic books could be counted on to draw in the crowds. Hot on his heels the following summer came another movie based on a famous comic character, this one from the funny pages of the Tribune Company’s syndicate, Dick Tracy.The 1990 adaptation of Chester Gould’s yellow hat-and-coat-wearing detective finds a man too over-committed to his endless quest to put the City’s big bad mob boss Alphonse “Big Boy” Caprice (Al Pacino) out-of-business. It’s a full-time job that leaves Tracy’s girlfriend Tess Trueheart (Glenne Headly) feeling left out and worried about their future together. But their lives take a turn when Tracy rescues a wisecracking street kid (Charlie Korsmo) who wants to stay with the couple, a smooth-talking femme fatale named Breathless Mahoney (Madonna) enters the picture, and Big Boy escalates his turf war to wipe out Tracy. It’s a colorful fantasy world frozen in the early 1930s in a place where the good guys wear badges and the bad guys are noticeably grotesque figures with names like Pruneface, Flattop, and Mumbles.Although Warren Beatty’s Dick Tracy didn’t quite win over audiences and critics as strongly as Batman did the previous year, here s why it remains a movie worth revisiting 30 years later for its wild direction, astonishing production design, and catchy music.WARREN BEATTY S DEDICATION TO THE SOURCE MATERIAL IS CLEARLY EVIDENT(Photo by (c)Touchstone courtesy Everett Collection)Part of the appeal of 1990 s Dick Tracy is that it doesn’t remotely resemble reality. Beatty, a fan of the Dick Tracy comic strips from back in the day, chose to stick to the source’s two-dimensional layout, limited color palette, and cartoon-esque aesthetics. According to Vox, the actor turned director and producer had first tried to adapt Dick Tracy for the screen back in the 1970s. A number of notable directors were considered for the project, including Steven Spielberg, John Landis, Walter Hill, and Martin Scorsese, but ultimately, Beatty gave himself the job.Introduced in 1931 at the tail-end of Prohibition, Dick Tracy quickly became a popular comic strip crimefighter who battled scary-looking mob bosses and shifty gangsters. Before Beatty’s movie, Dick Tracy enjoyed a brief run as the hero of serials and movies in the 1930s and 40s, as well as occasional TV appearances in the 1950s and 60s. Many of these adaptations jettisoned the character’s original backstory and supporting players, but Beatty wanted to do justice to his first big-budget adaptation.For Beatty, that meant going all-in on Tracy’s original aesthetic, which mostly took its cues from how newspapers cheaply printed its comic pages; there would be limited colors and patterns onMilena Canonero’s costumes. While Beatty already came to the starring role with his character’s square jaw, make-up artists John Caglione Jr. and Doug Drexler would create the monstrous features of the mobsters. The screenplay by writing duo Jim Cash and Jack Epps Jr. (Top Gun, The Secret of My Success) includes many characters from the original comic strip series like Tess, the orphan who names himself after Dick Tracy, and the rogues gallery. Although the film didn’t become a roaring success at the box office, it still made its parent distributor Disney over 0 million at the domestic box office, and it went on to earn seven Academy Away nominations –– including nods to Pacino, Canonero, and cinematographer Vittorio Storaro –– and win three Oscars for Best Makeup, Best Art Direction, and Best Original Song.THE FILM S EYE-POPPING PRODUCTION DESIGN IS A SIGHT TO BEHOLD(Photo by Buena Vista Pictures)There’s a good reason Dick Tracy took home the Oscar for Best Art Direction: It’s truly stunning what Beatty, production designer Richard Sylbert, and art director Rick Simpson accomplished on an astonishing scale. Before computer technology could easily and cheaply create worlds beyond our reality, filmmakers had to rely on old school practical effects to make these made-up worlds appear on screen. That meant tricking out a lot of backlot space to look less like our world and more like Tracy’s, carefully set-decorating each room to look as they would in a comic strip and using matte paintings and other visual effects to bring the inky pages of a newspaper to life.Under the lens of cinematographer Vittorio Storaro (Apocalypse Now, The Last Emperor), the colors of the sets and costumes brightly pop off the screen, much in the same way that comic strips in a newspaper would appear after pages of black-and-white text. The lighting in the movie sometimes casts a red or green glow over the wet pavement, and sometimes the shadows on Tracy’s face make him appear more like the hand-drawn character on the movie poster than Beatty. Vanity Fair noted how Storaro’s shooting style on the film helped create the illusion that this was a panel-by-panel Dick Tracy adventure. Through careful composition, his still camera would frame each moment as if it were a panel in the comic strip, taking the idea of a comic adaptation to a whole new level years before movies like 300 or Sin City did the same.AL PACINO S UNHINGED PERFORMANCE IS BOTH SURPRISINGLY INTENSE AND FUNNY(Photo by Buena Vista Pictures)As in the comic strips, Beatty’s Tracy is a pretty straightforward guy. He loves his girlfriend, he busts organized crime rings, and he’s unsure about settling down and adopting the orphan he rescued. That’s a bit of a meta-joke on Beatty’s longtime bachelor status, but it also works in the case of his workaholic detective. He doesn’t have the baggage of a lost home planet like Superman or the tragic death of his parents like Batman. He’s a straight man in need of a foil, a Joker to his Batman if you will.In the movie, it’s up to Al Pacino as Tracy’s nemesis Big Boy to serve the film its dose of chaotic energy. This is possibly the actor’s most scream-heavy role, which is pretty stiff competition in a filmography that includes Scarface and Any Given Sunday. Even under prosthetics, nothing stops the actor from barking commands at Tracy, his bumbling goons, and his reluctant new gangster moll, Breathless Mahoney. Flanking Pacino are a number of famous faces, some almost unrecognizable under layers of makeup, like Paul Sorvino, Dustin Hoffman, Dick Van Dyke, Mandy Patinkin, and James Caan. But no one, not even the calm, cool-headed Tracy, can hold a candle to the fiery rage of Big Boy’s apoplectic tantrums.DANNY ELFMAN AND STEPHEN SONDHEIM S SCORE IS UNFORGETTABLEBatman may have paired up composer Danny Elfman with Prince, but Dick Tracy brought Elfman’s bombastic orchestral superhero theme music together with Stephen Sondheim’s sensitive and catchy Broadway-esque tunes. Elfman’s opening theme captures the danger, romance and adventure the movie has to offer; though the score vaguely sounds like his theme for Batman, there are no ominous notes of doom and gloom. Instead, there’s a sense of mystery and grandiosity, as well as a frenetic feel, as if Tracy were searching for Big Boy in the sheet music. Then, it swells to the romantic ties between Tracy and Trueheart, a constant throughout the story.Madonna and Sondheim round out the film’s music with a set of five show-stopping numbers, including “Sooner or Later” and “Back in Business.” The former is a bluesy number that explains Breathless’ insistence on seducing Tracy away from Trueheart because she “always gets” her man, while the latter is an upbeat jazz song that comes at an inopportune time for Tracy, and they make up two more reasons Dick Tracy is so fun to watch all these years later.THE MOVIE IS FULL OF CLASSIC HOLLYWOOD REFERENCES(Photo by Buena Vista Pictures)Matte paintings aren’t the only old Hollywood tricks up Beatty’s yellow sleeves. Beatty, who had come to Hollywood in the waning days of the studio era, incorporated a number of homages to classic movies, the most noticeable of which is Breathless Mahoney, a film noir-inspired femme fatale given a Marilyn Monroe-inspired ‘do. In one scene, she’s even wearing a two-piece white suit that looks a lot like one of the costumes Rita Hayworth wears in Gilda, in which she plays the new wife of a club owner who, like Breathless, also sings and flirts with the main character.From its start, the comic series had always been criticized for its violence, and the movie version is no different. There are car explosions, shootouts, attempted (and successful) murders, and lots of gun pointing between cops and criminals. Since Dick Tracy’s comic strip debuted around the same time as gangster movies like The Public Enemy (1931), Little Caesar (1931), and Scarface (1932) hit theaters, it’s also probable that Beatty incorporated those influences into Dick Tracy decades later.The two aforementioned Sondheim songs, “Sooner or Later” and “Back in Business,” play over musical montages, each tracing the rise and fall of our hero. In one set of the montages, it’s Tracy breaking up Big Boy’s racket at every turn, cut in-between shots of the increasingly exasperated mob boss and newspaper headlines and radio announcers regaling Tracy’s successes. In “Back in Business,” Tracy’s been framed and locked-up, leaving the gangsters to regain control of the city while he stares hopelessly at the ceiling. But when Elfman’s score swells again, it’s Tracy’s turn to get back to business.In a way, Dick Tracy is a movie of its time and outside of it, a film about a 1930s hero remade with as much leniency towards violence and sex as a 1990s PG-movie would allow. It’s a pastiche of nostalgia boiled down to its bare elements: good and bad, love and lust. It might have been an otherwise forgettable entry in the early days of movies based on comic characters, but Beatty and his team made it a cult favorite. There are few other movies that work as hard to make the real world look hand-drawn, to recreate each minute detail down to its monochromatic costumes, set decor and matte paintings, to recreate Tracy’s world from the page to the screen, and it s all the more unique for it.Where You Can Watch It NowFandangoNOW (rent/own), Vudu (rent/own), Amazon (rent/own), Google (rent/own), iTunes (rent/own)Dick Tracy was released on June 15, 1990.
(Photo by © STX Films)Moviemaking is incredibly… complicated. A million things can – and often do – go wrong, myriad questions and unforeseen problems pop up, and all the while issues like budgeting and scheduling consistently hover around, like annoying flies you just can’t swat away. But making a movie during lockdown? “It was intimidating and surreal, to be honest,” Adam Mason says of the prospect (at the time uncharted territory) of doing just that.Back in early July, the co-writer-director’s romance-thriller, Songbird (out December 11 on demand), became the first studio feature film to shoot in Los Angeles since the industry was put on ice for the foreseeable future in March. “The entire city shut down in one day, and nobody was working,” Mason recalls, “and it was like, How can we get back to work? More than anything to do with the story, that was a huge priority.”When the lockdown went into effect, Mason had to essentially shelve his indie passion project, which was in pre-production, leaving him “very despondent,” as he puts it. The next morning, his writing partner Simon Boyes rang him, and the duo cooked up a found-footage, lockdown-set “monster movie akin to something like Cloverfield.” That idea was greenlit by producer Adam Goodman, and eventually Michael Bay signed on, and Songbird ballooned from an iPhone-shot indie to a slick, big-budget Hollywood production about lovers (KJ Apa and Sofia Carson) trapped in a near-future COVID-plagued L.A., with a cast that boasts Bradley Whitford, Demi Moore, Peter Stormare, and Craig Robinson. “It became something a lot bigger than I anticipated,” Mason concedes. Zone Systems, PPE, And Just 19 Days For a Michael Bay Blockbuster (Photo by © STX Films)That bigness presented a big problem. “It’s the only project I’ve ever been involved in where I was thinking about something other than the narrative,” says Mason. “I was thinking about safety and how we could pull off this kind of monumental task.” To do that, the production, in conjunction with unions, laid down a set of guidelines: There would be constant testing. “I was tested three times a week,” says Mason, “and if anyone came into my bubble – the amount of people I’d see day to day was tiny – I would know that that person had been tested negative that morning.”There would be a “zone system,” in which anyone on set was designated to a particular area, to limit interactions with non-masked actors when cameras rolled. The crew would be capped at 40 people. And personal protective equipment (PPE) and quarantining measures would be in place. “We had a rule very early on that we wouldn’t hire an actor that was out of town,” says Mason. “And then everyone quarantined whenever they left set, so I would know that everyone I was working with hadn’t mingled with anyone outside of their families.” (As Deadline reported in July, the SAG-AFTRA union hit Songbird with a Do Not Work order, only to rescind it the following day once an agreement was made.)It helped that Songbird was a film about lockdown conceived during lockdown, written with a lot of those logistical hula hoops in mind – namely, not being able to have blocking (“It wasn’t like actors had to hit marks because we didn’t have the full crew to warrant that kind of traditional filmmaking,” Mason says) or “massive movie lights” or makeup retouches or time (it wrapped in 19 days) or anything else that would require inessential on-set interaction. And if there was a moment that called for a lot of actors, there was a workaround: “Because Songbird is set four years in the future during the pandemic,” Mason says of the more extra-heavy scenes, “all of the military were wearing hazmat suits and gas masks and things that actually were extremely safe in terms of being PPE.”Certified Fresh Horror Via iPhones and Direct Messages(Photo by © Shudder)That same ethos – doing what you can with the limited lockdown means you have – has propelled indie films shot during the pandemic as well. Host, a grippingly fun horror film Certified Fresh at 100% (and currently streaming on Shudder) started as a lark. “[Host director] Rob Savage played a prank on us,” explains the film’s star, Haley Bishop. “He told us that there was this noise in his attic when we were all on Zoom, and then he somehow seamlessly made it seem like he had gone up into his attic and then cut to the zombie shot from the horror film [•REC]. He put the video up of us screaming online, and it got millions of views within a couple of days.”Viral exposure led to a deal with Shudder, and Host, about a séance over Zoom gone wrong, began shooting a mere two weeks later, in April. “When we started, the U.K. was in full lockdown,” Bishop says. “Rob never set foot in any of our apartments.” Host had a scriptment – “the little points we had to hit” – but the dialogue was completely improvised, so Savage and producer Douglas Cox, on blacked-out screens over Zoom, would instant-message actors notes in real time.“Rob would write, ‘Okay, call Jemma [Moore] a bitch’ or ‘Keep poking at her until she cracks,’ and he’d be sending other private messages to her,” Bishop says, noting that all footage from the film was shot from iPhones attached to the actors’ laptops. “That was the beauty of it: We didn’t have to reset lights or wait for any departments to fix anything. We could just start again immediately. The most challenging aspect, though, was because we had to do so much intense crying and screaming and because we weren’t being ushered back to a trailer between takes, I was like, I can’t cry anymore. I’m so dehydrated. ”When COVID restrictions in London loosened, a small stunt team donning PPE visited the necessary actors’ homes – with medics on standby outside – to rig them with the pulleys and ropes and crash mats and whatnot needed to achieve Host’s scares. “Luckily, my partner was physically strong enough to drag me down a hallway, so he was very involved with helping,” Bishop says of one particularly jump-worthy moment.A Playwright Pivots, Turning to Zoom to Bring Nora Highland to the Screen(Photo by Ryan Spahn )Even fewer frills – no chilling VFX or stunts or medics – are present in Nora Highland, writer-director Ryan Spahn’s comedic, Zoom-shot drama that screened in October (virtually, of course) as part of this year’s NewFest, an LGBTQIA+ focused film festival in New York. Spahn originally wrote Nora Highland as a play, but after hosting a reading of it for an online benefit in the early days of the pandemic – the reading featured Tessa Thompson in the role Marin Ireland plays in the film – he decided to adapt it into a shutdown-set feature. “I realized, Oh this really works on this platform, ” he says. “So then I adjusted it to the format of it being a found-footage or video conferencing film, like Searching or Unfriended.”The centerpiece of Nora Highland is a lengthy Zoom chat, in which a theater director (Ireland) and actor (Michael Hsu Rosen) spat over the casting of gay characters – the thorny ethical issue of casting straight actors in the roles – while discussing an upcoming Broadway revival. “They’re big New York stage actors, so we rehearsed it for two weeks and then they got off book, as if we were doing a play,” Spahn says of the process. “One was in Upstate, and the other was in Chelsea. But because it was designed for [Zoom], the way you’d rehearse it is exactly the way it was filmed. So we did it in one take, and I hoped there wasn’t an internet or cell-phone problem.”Despite some initial editing quibbles – “we couldn’t sit next to each other, so the editor had to screen-share his desktop, and there were weird delays and volume issues,” he explains – Spahn found filmmaking during the pandemic “very freeing.”Although Songbird has polar-opposite stakes and circumstances, Mason shares that sentiment: “Because there weren’t loads of people around, weighing in with opinions and thoughts and so on, there was this incredible sense of freedom that I haven’t felt for years. I think it kind of stripped away all of the bulls t of filmmaking.”Songbird is available on video on demand from December 11. Host is available now on Shudder. Nora Highland is currently screening at online festivals. On an Apple device? Follow Rotten Tomatoes on Apple News.
Kimberly Potts for Rotten Tomatoes: What attracted you to this topic, to this project?Kerry Ehrin: Initially it was Brian Stelter s book, Top of the Morning (which the Apple TV+ series is based on). I really liked it, and the tone of the world he was describing, and I was just saying it felt like a very good stage to write great character stories on, set against this high stakes world, but also there s a social absurdity to that world … so competitive, and the behavior gets a little bit like, almost high school-ish. So that was a very intriguing world to me. And then obviously Reese and Jennifer, getting to create complex female characters with high profile, high stakes jobs, and write about female relationships in a real way was very intriguing to me. All those elements don t line up every day.(Photo by Apple TV+)One of the most things with the stars of morning TV is how much their personal lives are impacted by their jobs. Even just the fact that they have to get up at these ridiculous hours — that has to impact their time with their kids and their family and friends and personal time. How much are you going to get into that, Alex and Bradley s personal lives, as the season goes on?Ehrin: A great deal. I think that s a big part of Alex s story, how much she has sacrificed to get to that top level. And Bradley is really just entering into this world. So her story is more about being from the outside and trying to acclimate and immerse into it … When you live those kind of hours, there s no question that it becomes your life and it dictates your life. Any high-stress job becomes your life and dictates your life.I m guessing that s something you can relate to as a showrunner.Ehrin: Oh, 100 percent. I mean, I could also relate to it when I was working retail. Jobs do end up dictating your life. But yeah, I mean, when you have a ton of financial responsibility for other people, you do live with it all the time.Getting into the characters, viewers are going to assume that Mitch Kessler (Steve Carell) is Matt Lauer. What is your response to that?Ehrin: Well, I mean, it isn t. I get, I guess, why people would go there. I don t know … I don t know why they never pick Charlie Rose. But all I can tell you is … it isn t Matt Lauer. It s an amalgam of human beings that I ve interacted with, that have been in my life, and some people that have been in the public eye. But it really is an original tale. It isn t “The Matt Lauer Story” at all. Nor did I want to write that.(Photo by Apple TV+)In the first three episodes, viewers get some viewpoints that they might not be expecting. This is a discussion of all angles and some nuanced points of view that haven’t played out so much in a scripted series. Episode three in particular, with Mitch’s conversation with the director played by Martin Short — do you think people are ready for, or maybe even craving at this point, a nuanced look at this subject?Ehrin: I feel like there s a lot of layers to that question. I mean, one of them is, there s a specific road we re going down with the stories that we re telling, and you re meeting a character in the beginning, so there s that aspect of it. I m trying to say this without giving too much stuff away. It’s a story about human beings who are in this web. And I don t think (Mitch) is written overly sympathetically. It s interesting to me that people are saying, Oh, he s so sympathetic. And I don t think he s any more sympathetic than anyone in the show. I think everyone on the show is really screwed up in different ways. He’s a narcissist, he clearly lives inside his own reality of what s real and what s right. And I mean, yeah, Steve Carell is a likable, charming guy, but so are a lot of these guys. So I think you have to look at the whole enchilada. And I would say this will be a better discussion after episode ten.It s interesting to see this particular story play out from all these different points of view.Ehrin: It s a huge thing. There s a huge movement. It has affected everybody, and it s seismic. So yeah, it s a story of looking at it and at all the elements.(Photo by Apple TV+)Kudos for keeping the Martin Short cameo under wraps. He was great, and having such a beloved actor playing that character, saying those shocking things about his behavior, and challenging Mitch to consider his own behavior, was impactful. I hope the surprise of his appearance isn’t spoiled for people before they watch the episode.Ehrin: That would actually be great, because it is so exciting to see him, and he s so good. Man, that guy is a great actor. He s really, really good.What s your goal overall with the development of Bradley and Alex s characters? Ehrin: They both have important individual stories. Alex s being about a highly successful person who has sacrificed so much of her life and was so close to this partner who gets fired for sexual misconduct. And it really is about how it dismantles her life. And then Bradley s is about a person who has a lot of demons from her family and isn t really psychologically or emotionally set up for success, and finds herself pulled into this world. And how do you, as sort of an emotional outsider of success, how do you function in that world? And can you survive it? Can you thrive in it or is that impossible?In addition to that, there is the story of these two women who come into each other s lives, and I really wanted to do a realistic story and not make them hate each other, like All About Eve, or they re best friends and they re never mean. I really wanted to do just a real nuanced portrayal of all (aspects) of a female working relationship — all of its wonderful complexities. And that s been the ongoing road. That s the heart of it to me, what that relationship is about and how it develops and evolves.(Photo by Apple TV+)We’ve met Bradley’s family, her mom and her brother, and there have been hints that she has sort of been almost a parental figure for both of them. Is that something we’ll get into a lot more?Ehrin: Yeah. That s a big part of Bradley s character, who she is and dealing with that. If you have baggage that you haven t dealt with and you get thrust into a high-stress, high-profile job, it s a different experience than someone who does not have that baggage.You ve made great television, told great stories, on network and cable, and now a streaming service. Has it been different in any big ways creating this show for a streaming service?Ehrin: There s been more freedom, certainly. I think that was always a challenge for me, because I ve been doing this for a while, and for a big chunk of my career there weren t all these venues available. And you had to fit in (on)  broadcast, and it was always, always, always a challenge to — if you re a little idiosyncratic, if you re a little dark, if you re a little to the left of center, it was just harder to fit into that mold, that box, and still get to play with your whole deck of cards.Do you feel like you finally have gotten to do a show, this show, exactly how you would want to do it?Ehrin: Yeah, I do. I mean, I felt that way about Bates as well, except for the swearing. It really would have made it a little more (realistic) to have people be able to talk the way people actually speak. And also, commercials are just death to me. That used to kill me about Bates, because I felt like it was like an opera, and then you d be so into these huge, crazy things, and then it s an ad for erectile dysfunction or insurance. And it just was like, it completely wrecked it for me. So that was always hard. But this is pretty cool. It is a lot more freedom. It s a lot more money to make stuff. It s been pretty great. New episodes of The Morning Show premiere on Fridays on Apple TV+.

Kate Hudson has signed on for season 2 of the Apple TV+ drama Truth Be Told. In her first regular TV series role, Hudson will star with series lead Octavia Spencer, who plays true crime podcaster Poppy. Hudson will play a lifestyle expert, Micah, and friend of Poppy’s who is involved in a new case that puts the women’s friendship at odds.
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