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亚博全站APP软件采用百度引擎5(Baidu 9)After a deadly virus wipes out the majority of the world s population, two groups of survivors end up picking sides — with 108-year-old prophet Mother Abigail (Whoopi Goldberg) or the demonic Randal Flagg (Alexander Skarsgård) — in a supernatural battle between good and evil to decide the fate of mankind. That, in a nutshell, is the gist of Stephen King s The Stand.The author s iconic novel is considered by many to be one of his best works — it has been updated multiple times by King and was adapted into an Emmy Award-winning mini-series by Mick Garris in 1994. Now, a new version of the story is hitting CBS All Access on Thursday, December 17, in the form of a nine-episode mini-series.This highly-anticipated series, which was brought to life by Josh Boone, Benjamin Cavell, and Taylor Elmore, features a packed cast, including Goldberg, Skarsgård, James Marsden, Odessa Young, Jovan Adepo, Amber Heard, Owen Teague, Henry Zaga, Brad William Henke, Greg Kinnear, Irene Bedard, Katherine McNamara, and Nat Wolff.It s been two-and-a-half decades since we ve seen Mother Abigail face-off against the Dark Man — that mini-series is Certified Fresh on the Tomatometer with a score of 71%. Will this new adaptation of Stephen King s novel fare better than its predecessor? Or will it end up dead-on-arrival? Here s what the critics are saying about CBS All Access s The Stand.How Faithful Is It to the Book?(Photo by © CBS All Access) This adaptation – developed by Josh Boone and Benjamin Cavell – takes the unique approach of telling the story in a nonlinear fashion, one that introduces viewers less to the pandemic itself more to the characters, the hearts and souls that the story is ultimately about. It s a move that may not sit well with some die-hard King fans, but it s one that injects a new life into the story. Starting with people, not with plague and it immediately sets the series out on a much better foot and almost immediately will hook audiences. — Nicole Drum, ComicBook.com If you are familiar with the first mini-series, there are a lot of scenes that looks eerily similar in the new iteration, but there is so much more. Those that have read the novel will find this adaptation does better justice to the massive cast of characters. But, you may not like all of the changes. — Alex Maidy, Jo Blo s Movie Network This new format also asks a lot of its viewers, particularly those who aren’t Constant Readers. With all of this leaping around, so much of the characterization draws upon an inherent knowledge of the source material. Relationships are formed without much connective tissue, narrative beats are well underway with nary a point of origin, and references are dropped at a brisk pace. Again, all of this will likely make for a disorienting experience for newcomers in King’s Dominion. — Michael Roffman, Consequence of SoundHow Is the cast?(Photo by Robert Falconer/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.) Skarsgård does for Randall Flagg what his brother Bill did for Pennywise. This Randall Flagg is the force of evil that Matthew McConaughey failed to evoke in The Dark Tower. This Flagg is more than a monster but a true force of evil. Goldberg was also born to play Abigail Freemantle and brought me to tears during this series. — Alex Maidy, Jo Blo s Movie Network This version of the story more richly develops some of the key characters from the novel and indeed even the previous live-action adaptation. Frannie Goldsmith (played by Odessa Young), for example, is fleshed out in a more grounded and realistic way while Tom Cullen (Brad William Henke) is given more humanity than perhaps we ve seen before. It helps that both Young and Henke deliver solid performances that feel less like archetype characters and more like people we can easily identify from our own lives. — Nicole Drum, ComicBook.com The cast mostly doesn t rise much above the level of competence – nor, to be fair, drop much below it. The notable exceptions are Brad William Henke (Orange Is the New Black) making his mentally challenged character Tom Cullen impossible not to love; Alexander Skarsgård (True Blood) projecting a palpable sense of evil as Randall Flagg, the baddest of the bad guys; and Henry Zaga, who pulls off a nearly impossible assignment in portraying Nick Andros, a man who can t hear or speak and can barely see. — Glenn Garvin, Reason Online If there s a standout here it s Teague, who plays Harold as an incel sociopath who can just pass as an ordinary, happy citizen. In one of his best moments he fakes his way through the rebuilding utopia with a smile that tries to look winning but mostly looks like Jim Carrey in full manic mode. — Keith Phipps, TV GuideIs the World-Building Epic Enough?(Photo by James Minchin/CBS) Because things are moving at such a rapid clip, it’s hard to really get a grasp on what’s at stake, and that feeling extends towards much of the world building. At times, it’s a very claustrophobic experience with so much of what’s happening in this world being told rather than shown. And while some of this exposition is wisely left to our own imaginations, most of these comments feel like tossed in signposts, leaving the narrative feeling often hollow. — Michael Roffman, Consequence of Sound The series’ first couple of hours, premiere “The End” and second episode “Pocket Savior,” build an exquisite amount of tension: The shifting locations capture the permeation of the outbreak; each cough and sniffle portends upcoming doom; and the series’ makeup department should be commended for making the physical effects of “Captain Trips” very, very gross. But after those initial world-building episodes, The Stand never feels dirty enough — neither in its presentation of the physical and emotional impact of all this sickness, loss, and death, nor in its consideration of the lure of Flagg’s totalitarianism-as-hedonism rule in his New Vegas bacchanalia. — Roxana Hadadi, Variety The series generous budget keeps its post-apocalyptic America convincing and its tense moments deliver the scares. If these first four episodes offer li

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Best-Reviewed Returning TV Shows 2019They say that sophomore seasons are often when the greatest shows hit their strides, and in 2019 second seasons dominated our list of the best-reviewed returning TV shows of the year. Fleabag, Mindhunter, Barry, Succession, and Dark all just got better for their second outings, according to the critics, and crowded out our top 10. Elsewhere, Brooklyn Nine-Nine, returning not just from another season but from the brink of extinction having been saved by NBC, showed that it could still draw quality laughs in its sixth season, while other beloved series in our list – Broad City, Fleabag – sadly won’t be returning again.The order of the rank below reflects the Adjusted Score as of December 31, 2019. Scores might change over time.« Previous Category Next Category » Rosemary s Baby and 1944 s Gaslight combine in this new horror tale from first-time director Joe Marcantonio featuring stellar performances from newcomer Tamara Lawrance and Killing Eve s Fiona Shaw. A young pregnant woman plagued by disturbing hallucinations begins to suspect the family caring for her has nefarious intentions for her unborn child. With impressive, nuanced performances all round, this is a film that grips throughout despite its slow pace. You may decide early on that you know where it s going, but the ending still makes an impact, writes Jennie Kermode in Eye for Film. We recently chatted with Marcantonio about the film, the horrors of parenting, and what is on his Indie Fresh List.Jacqueline Coley for Rotten Tomatoes: Is it better to do horror right now? It seems like horror as a genre might be a bit pandemic proof.Joe Marcantonio: Kindred is a film that skirts many genres there are funny bits, scary bits, thrilling bits, elements of suspense but it isn’t a horror film in a traditional sense. There are no jump scares, maniacs, or monsters. I was inspired by the films of Park Chan-wook and Bong Joon-ho, and the way that South Korean cinema manages to mix genres in really interesting and unique ways. Just look at how hard it is to categorize a film like Parasite.Having said that, it’s clear that times of uncertainly or national trauma always seem to serve as a catalyst for interesting horror films. The Great Depression spawned Frankenstein and The Mummy in the 30s, about the fear of the unknown. McCarthyism spawned Invasion of the Body Snatchers,  about the potential infiltration of an insidious force. The Vietnam War spawned Psycho, Rosemary’s Baby, and The Exorcist, all about the breakdown of traditional family values. The War on Terror spawned the term torture porn, when there was so much talk about torture and whether it is ever justifiable. And recently the Fake News era seems to have produced recent films like His House and Saint Maud that have escapist fantasy elements yet deal with truth and lies. I guess Kindred potentially falls into the same camp. Watching scary films that reflect the society in some way enables people to experience their fears in a safe space, to feel scared or terrified yet retain some control. It acts as a catharsis at times of uncertainty.Many have made the obvious Rosemary s Baby comparisons, but what is it about motherhood and horror? Why can it twist into something terrifying so easily?I remember how helpless I felt when I was first left at home in charge of my son, and how freaked out I was to be responsible for keeping such a vulnerable creature alive. We’d had a home birth, and when the midwife left and my wife was resting, I stood in the kitchen, holding him, not knowing what to do. The level of vulnerability and uncertainty was overwhelming, and if you add the anxiety and terror involved, it is very fertile ground for horror.To be totally honest, the truth is that a lot of the characters in the film are reflecting my own experiences as a parent. There is a monologue that Margaret gives about her regrets as a parent, and there is an uncomfortable amount of truth in there about my feelings and mental health concerns in the wake of my daughter s birth. It’s slightly traumatic for me to watch as, it feels very exposing and raw, but it s probably my favorite scene in the film.Talk about casting Tamara. So much of the film falls on her reaction, and was it always intended to have a Black female lead?The script Jason and I wrote was always non-specific about race, simply because we were open to all possibilities. In the end, we cast Tamara because she was the best actress we saw, not because she was the best Black actress we saw. Maybe I was being naive to what some people s reactions to that choice would be, but I’m very glad we picked her. She’s really terrific, a superb actor and a wonderful person. Race is such a prevalent talking point in the USA at the moment (and it s an issue in the UK too), so I totally understand people reading a lot into that decision, but the film was always intended as one about the British class system and inherited wealth, rather than one about race. Margaret would hate anyone who tried to take her son away, whatever they looked like or race they were. Because of the decision to cast Tamara in the role, we’ve had a lot of comparisons to Get Out, and seem to have caught the ire of some reviewers who think that we were jumping on some kind of bandwagon, or attempting to copy that film in some way, but that was never the case. We do feature an old-fashioned teacup in Kindred, as they do in Get Out, but that’s only because the film is set in the UK and we drink a lot of tea! Margaret wouldn’t be caught dead drinking from a mug; it s far too common.The house is a big part of the drama of the film. How did you find the perfect location?For a variety of reasons, we decided to shoot the film in Ireland, and their political history means that there were a lot of manor houses built by the English landowners that were initially installed by Oliver Cromwell and his cronies. But after Irish independence, a lot of the large houses were burned down or fell into disrepair. In England, a grand house like that would have a car park and a cafe, and they’d charge you a small fortune to walk around and look at the paintings. But their outlook on these things is different in Ireland, so we had a few good locations as options.The house was always intended to be a character in the film, and I had a clear image in my mind about the kind of place we had to find. We found a few okay options, but kept hearing whispers about a place called Stradbally. A few people even suggested we shouldn t go and look at it because of the associated cost problems; it is so far from Dublin you need to put crew up in hotels. But we drove out to visit, and as soon as we saw Stradbally Hall, I apologized to my producer because I knew this was the place and his job was going to get a lot harder. An upside to its remoteness is that not a lot of other people have shot there I think the only shoot was a couple of scenes in the Lassie movie back in 2005. The guy who owns the house is called Thomas coincidently, that is the same name as Jack s character in the film. It felt like a sign.The place looks haunted on its face. Did you feel that in real life?It’s definitely a slightly spooky place. Most of the strange paintings and taxidermy in the film were actually situated around the house; boxing hedgehogs, foxes, ferrets it was all quite odd. The owners are a friendly family with young kids, and they live in a small, modernized part of the house, but one member of the family still lives in that larger part of the house, and every now and then he’d unexpectedly walk past in his dressing gown and give you a bit of a fright.What is on your Indie Fresh List what independent films are you watching, or what are you watching in general?I really enjoyed His House and Saint Maud  they are both genre films, and they feel very considered and cinematic in their approach. They avoid the kitchen sink drama feel that a lot of independent British films fall into. Parasite and Uncut Gems are my favorite films of the last year or so, and I just rewatched both series of Succession, which is so well written it makes me queasy.Kindred is available now in select theaters and on VOD.

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山海经ol是一款当下热门的经典仙侠手游,游戏背景以山海经为主,每个角色的技能都是能够随心搭配,同时丰富的主线剧情任务能够让大家感受到一个完成的故事哦,快来下载山海经ol体验吧!亚博全站APP软件“What an amazing journey it’s been. I’ve been reading your comments, and the outpouring of love and support for our cast and crew has been truly overwhelming,” Schreiber wrote. “I know the big question on everyone’s mind is whether there will be a season 8. Truth is it’s in the networks hands. So if you want more, reach out to them at @showtime, @raydonovan, and @cbstv and let them know how you feel. Either way it’s been an amazing ride and we have all of you to thank for it. Xo Liev.”CASTING NEWS: MORE CAST ANNOUNCED FOR MARVEL’S M.O.D.O.K. WITH PATTON OSWALT AS A SUPERVILLAIN IN A MIDLIFE CRISIS(Photo by Marvel)Patton Oswalt will voice the titular megalomaniacal supervillain M.O.D.O.K. in the upcoming animated Hulu series Marvel’s M.O.D.O.K. Marvel’s first animated comedy for adults finds M.O.D.O.K. (Mental Organism Designed Only for Killing) in the thick of a midlife crisis: just as his marriage is crumbling, he has been ousted as the leader of his evildoing organization, A.I.M. (Advanced Idea Mechanics). Other cast members voicing M.O.D.O.K.’s family and foes: Aimee Garcia (Lucifer) as M.O.D.O.K.’s wife, Jodie, a mommy blogger; Ben Schwartz (Parks and Recreation) as M.O.D.O.K.’s son, Lou; Melissa Fumero (Brooklyn Nine-Nine) as Melissa. M.O.D.O.K.’s teen daughter; Wendi McLendon-Covey (The Goldbergs) as Monica, M.O.D.O.K.’s work rival; Saturday Night Live’s Beck Bennett as Austin Van Der Sleet, M.O.D.O.K.’s new twentysomething boss; Jon Daly (Curb Your Enthusiasm) as Super Adaptoid, the snarky machine that wants to overwrite his programming and possibly turn on M.O.D.O.K.; and Sam Richardson (Veep) as Gary, M.O.D.O.K.’s loyal minion.Katey Sagal has been cast as the lead in Rebel, ABC’s drama pilot about a legal advocate without a law degree, based on Erin Brockovich. The series is from Grey’s Anatomy showrunner Krista Vernoff. Sagal is currently guest starring as Dan Connor’s girlfriend on The Conners.GLOW star Betty Gilpin will play Ann Coulter in FX’s upcoming Impeachment: American Crime Story season, about the Bill Clinton–Monica Lewinsky scandal. Comedian Billy Eichner will portray Matt Drudge in the series. (DEADLINE)Dean Norris, the Claws star and Breaking Bad alum who will make a guest appearance in the upcoming fifth season of Better Call Saul, has signed on to star in Chuck Lorre’s CBS comedy pilot The United States of Al. The series stars Parker Young as Riley, a Marine combat veteran who struggles to readjust to life at home in Ohio. He bonds with Awalmir/Al, the interpreter who served with his unit in Afghanistan, and who has just moved to America. Norris will play Riley’s dad, also a Marine, who Riley lives with upon his return to Ohio. (DEADLINE)Rosario Dawson will star in DMZ, the HBO Max series from Ava DuVernay. The series, based on the comic book of the same name, set in a futuristic Manhattan that is the site of a brutal civil war. Dawson will play Alma, a medic who is trying to find her missing son. (DEADLINE)DEVELOPMENT NEWS: AWARDS SEASON FAVORITE PARASITE WILL LIVE ON, ON HBO(Photo by Neon)Parasite, the Korean-language thriller that racked up six Oscar nominations, including Best Picture, will live on as an HBO limited series. Best Director Oscar nominee Bong Joon-ho told The Hollywood Reporter the series will feature stories “that happen in between the sequences in the film.”Seth Rogen will co-produce an adaptation of the comic book Fear Agent for Amazon. THR reports Amazon won a fierce bidding war for the project, which tells the story of Heath Huston: “Interstellar invaders. Time travel. Clones of clones of clones, and lots of whiskey. Whether he’s battling the scourge of space, going back in time to stop the alien invasion that changed Earth forever, or winning his ex-wife back, there’s nothing that Heath Huston won’t do to try to right the wrongs and gets his family back. He is, after all, the last Fear Agent.”Justin Long will host and executive produce a new Disney+ competition series called Shop Class. Premiering on the streaming service on Feb. 28, the show will feature groups of young people challenged to design and build unique projects in each episode, while a panel of experts will evaluate and test the structures to determine a winning team. (THR)Facebook Watch has greenlit Red Table Talk, the Jada Pinkett Smith–hosted talk show, for three seasons, through 2022. In addition, Facebook Watch and producer Pinkett Smith will launch a new talk show in the franchise: Red Table Talk: The Estefans, featuring Gloria Estefan, her daughter Emily and her niece Lili.Bill Simmons is doing for music what his award-winning, consistently great 30 for 30 series has done for sports. The Ringer creator is teaming with HBO for a six-part docuseries that will explore larger issues and acts in the music industry. HBO was an investor in The Ringer and Ringer Films, which produced the Andre the Giant documentary, about the legendary wrestler and actor, for the cable network.Comedian Bert Kreischer will star in the Netflix improv comedy Cabin, in which he and celebrity friends like Anthony Anderson, Joel McHale, and Caitlyn Jenner will attempt to cleanse their “mind, body, and soul” at a remote cabin via “bizarre therapy techniques, intense physical challenges, and ridiculously improvised encounters with nature,” often with “disastrous” results, according to Netflix.Drew Barrymore’s fall 2020 daytime talk show, The Drew Barrymore Show, has cleared 85 percent of the country. Barrymore is also an executive producer on the series, which will be distributed by CBS Television Distribution.NBA legend, author, and activist Kareem Abdul-Jabbar will executive produce and be featured in the History Channel documentary Black Patriots, a “comprehensive picture of the African-American experience during the Revolutionary War,” with focus on Crispus Attucks, Peter Salem, Phillis Wheatley and James Armistead Lafayette. The special airs on Feb. 19.Lorena Bobbitt, the subject of an Amazon docuseries last year, will produce a fully authorized Lifetime movie about her life. Bobbitt, who became a household name in 1993 after she cut off her abusive husband’s penis, will be the subject of I Was Lorena Bobbitt, which will air during the second half of 2020 and document her tabloid fame in the ’90s and her work as an advocacy work on behalf of abused women.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

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Barbara Ling:  I got a call to read the script at Quentin s house, and I went crazy for it, then met with Quentin. And the first big meeting was kind of insane. He writes the script as if it s a novel. It was an enormous amount of places. It was all I could do to try to take notes and catch up on how many locations we were going to need it was so massive. A massive film driving through LA, nonstop. It s stopping at many different types of areas. So once Quentin and I talked about the things that were most crucial for him and what he d love to see that could be discovered, all of the rest happened really quite quickly. Within the first 24 hours of me starting, I made sure I had Rick [Schuler] starting the next day, because the one thing that was very apparent to me, time was of the essence, and it was gonna take a lot of wrangling. It s Los Angeles, which is not an easy hunt. So Rick threw his department together fast.Rick Schuler: I was working on Ford v Ferrari and decided to jump over because I wanted to do the Quentin movie. Then I interviewed with Barbara. I guess that interview went well. [laughs] I was excited to be working with her, because she grew up and lived in Hollywood at that time. I came to Hollywood much later, so I was very excited about that. But yeah, it started rather quickly. Barbara met with him first, and then I got to the script, and then just started breaking down the locations. Barbara was already doing the locations that were written in the script and scouted already. So there was plenty for me to start wrapping my head around, like Musso Frank s and Casa Vega and all that kind of stuff. And then it was only later that I jumped in and talked more with Barbara and Quentin about other specific locations.Ling: We had Quentin in a car the very first week we both started. By the end of that week, we were driving the streets of LA. We had a tight window of only about 12 weeks before the tech scout and the first commercial shoots. Those little commercials were being made for within the film first, which meant that you had 12 weeks to put this movie together, to have the budget, start building, and start finding. The best part was being in the car with Quentin those hours and long conversations. And it does take hours, because driving through Los Angeles scouting is always hours. [laughs] In one respect, it was good, because that s where you get so much about what he s thinking. He s going, Yeah, and what about that? What about if we do this?  It s a creative time. And then there was nonstop driving with him once Rick would assemble things. It was a very quick process, but very creative and very fun. The hardest part [was] getting all of [these fractured moments] pinned down in the beginning. (Photo by Columbia/Sony Pictures)Ling: You have a layering in this film that s separate from the world that they were in the everyday 1960s, and then you had the TV shows that they were in at that time. Rick Dalton s Lancer would ve been set as an 1800s Western. So now we re doing this film, and we re doing the eras within the era. The constant was 1969, the live-action now. The actors, you d see on the streets or in their homes. And then we d go to a set, and now we re coming into a TV show. You have the Westerns, the Hullabaloo, and these fractured moments around different sets that carry on as their characters are on the set. When Cliff Booth is fighting Bruce Lee you re there on the outside of the set in the 1960s. You re not on the inside of the set, but it s there in the background.And those scenes within the scenes are the hardest part. Getting all of that pinned down in the beginning how many TV shows are there? It s a lot. It s a lot because there were a broad range of shows. But Quentin had to pin it down for himself. He said,  Okay, we re going to do 20 of these shows. But then you had the everyday action of the movie, Rick s life, Rick coming home, Cliff going to his trailer, the introduction of the Polanski house. And there s actually a lot that we did that didn t make the cut, because what happens with any movie is that you go for the gold, and then you think, Well, maybe I don t need that now. [Quentin s] an encyclopedia of both film and TV shows of that era. (Photo by Columbia/Sony Pictures)Schuler: Do you remember how he [Quentin] would pop things on us? Like, we were driving back from somewhere, and he goes, Oh, okay, go down Riverside. Go by Bob s Big Boy, and make a left on Furman. Stop. Now, let s get out of the car. And then he showed us a restaurant that he had frequented with his family growing up called The Money Tree on Riverside. And then once he sort of told us about that, he said, Well, an FBI episode was shot here. And we re listening, and he s like, Yeah, and I want to do this scene here. And that was sort of completely out of the blue.Ling: What s so great about Quentin, he s an encyclopedia of both film and TV shows of that era, particularly of the 50s, 60s, and 70s. And because there were scenes from FBI he wanted to recreate, which he did with Rick s character, we found a location and put that into the episode. He had found an old FBI with Burt Reynolds that he knew had a moment driving right down Riverside Drive and making the turn on Furman he just knew exactly where that was. The Money Tree was the place he had gone to, and he said, This would be fabulous if we just recreate on this block, if we could put everything back. And I was like, Well, that s not an easy ask. [laughs] Riverside is not an easy street, but it was fabulous because it s something off the beaten track, and that s what makes period work fun. And working with Quentin, those are the things that aren t always obvious, but it s very fun. Hollywood tends to be kind of an idea, but not so much a destination. [Tarantino] could make it a destination. (Photo by Columbia/Sony Pictures)Ling:  I would say Hollywood Boulevard was certainly one of the most massive things we tried. That had not really been done in probably 50 years, that someone was allowed to close Hollywood Boulevard. To have that much work done and closed down for, what? Three days? It was massive. Just the logistics of getting it done was like a miracle.Schuler: When Quentin mentioned he wanted to do Hollywood Boulevard, I was thinking, Oh, we ll do it between 9:00 AM and 3:00 PM in the afternoon, and then we ll do some night stuff, so that we can work between rush hours and all that. And then as he kept talking about Hollywood Boulevard, it became clear to me, Oh, there s no way we re going to do this, this way. We re going to have to really shut this whole thing down. So I started talking to the stakeholders in the area about what we wanted to do. Eventually, it led to a meeting with those stakeholders, and it became clear that I needed to get the council s office on board. The Department of Transportation was going to say no, because they have to say no. Our filming there is not going to make driving around Hollywood easier. They made it clear that if I could get the council s office to override everybody else, then they would be willing to go along with it, because, essentially, there was political cover, and it was out of their hands. I understood that, so eventually, we were able to go ahead and do that.Quentin came to the meeting, and by that time, everybody was on board with the project. And part of it was due in part that it was a movie about Hollywood. It was a man who had essentially grown up in Hollywood, that worked in Hollywood, that owned a theater in Hollywood, and who better to be able to do something like this and actually give something back to the city? That was the plug he made, and it worked. Hollywood tends to be kind of an idea, but not so much a destination. He could make it a destination. People could watch this movie, come to Hollywood, and start looking for locations where we shot. When I went into this meeting, they said they didn t do this except like maybe 50 years ago it was Alex in Wonderland  Quentin had actually shown us that movie. They also had shut down Hollywood Boulevard, they had tanks on the street, cars on fire, and machine gun fire in that movie. And as a humorous point, I said, Okay, you ve done this before. I can promise you, we won t do this again, but I do need some time to do some stuff that will bring people to this city. And they consented to that. [Rick Dalton s house] was our hardest location to scout. (Photo by Columbia/Sony Pictures)Ling: [Rick Dalton s house] was our hardest location, because it was written with such detail. Quentin had a shot that was actually written in the script about Rick in his pool. He s floating, and the camera is on Rick then the camera pulls up, comes up over the house, over the trees and lands right in front of the driveway with the Polanskis coming out the door and getting in their car. He wanted to do that in one shot. To get that was the longest thing we ever hunted. This was Rick s army of human beings searching every avenue on Google Earth looking for two houses that we could actually use that had all the other things we needed, which was a great pool and a view. That went on for months and months, trying to find this combination. And eventually, we found it, but it took months, an enormous amount of work, different homes, and different things. But the shot was so crucial to Quentin, it had to work. He had to be able to get this shot. But finally, in Studio City, up in the hills, we found this great pool that actually had a great view, and then it had a house above it. And all of it could be just altered enough to look more like hillsides.What we didn t do was use Rick s interior house there that became four locations. Rick s interior, I built on a stage, because that was too specific for Quentin in staging, especially for the final scene. That would ve been nearly impossible to find a house that would let me rebuild the interior to look like what he needed. So we did that one on a stage, and then we put in a pool, but in miniature, that was only about six inches deep, so that you could still look out the window at night. And then up at Sharon s house, for her backyard, we used yet another house that was in Tarzana. We altered the back of their house, so when you came out of a door at Sharon s house in Studio City, you actually were in this new location.It was an amazing collection of locations to make one thing. Plus, Quentin did a brilliant, brilliant job in his staging, so you never know that s not all just the same place. It was a number of locations to make up those two. But the feeling of Rick s interior was very important with Quentin it had to feel like a bachelor pad of the time, one of the late 50s for an early 60s kind of actor in Benedict Canyon. This mid-century kind of development actually is what they were. And it s the idea of, Rick Dalton s not a decorator, so he just puts a lot of stuff from his shows. He s got his saddle from one of the Westerns. He s got his Spanish bar we did Palomino skins in it and that s kind of the center of his universe within his home. And of course, the TV, with the mid-century BarcaLounger. You can tell it s not a female-driven home; it s very male-driven. And those are the things that a man would decorate around. The bar was also very important to Quentin what the cups were and things like that. And a lot of pieces from Quentin s own house are in that bar. He also loves to put in little tidbits of old movies like the Hopalong Cassidy poster with a Hopalong Cassidy cup, and all the other things that he collects. They were all places that Quentin goes to, and they love him as a client and as a filmmaker. (Photo by Columbia/Sony Pictures)Ling: It all started just quickly with Musso s, which of course is still very period. That place still looks like 1969, and they adore Quentin. They were very lovely, particularly with the decorating and prop crowd. When we said, Oh, we re going to bring out the dishes that were the right dishes for 1969. They still had everything it was still in that kitchen. The only things we changed out were things in the front, getting rid of the digital cash registers. We changed the curtains and all the stuff by the front door back to the curtains of the time. And we changed all the bottles to make sure that they were the labels from 1969, because even a lot of the alcohol has changed.Certainly, the theaters had more work, particularly the Bruin, who also were great to us. They let us change out their snack bar, put it back to the original snack bar, get rid of things on the side, and put up huge posters inside of there. We had to actually put our own projectors in, because Quentin wanted the film Sharon was watching to be the actual film, not to put that in digitally. So in the back of the theater, they let us take out seats and build another booth and put in film projectors with enough light that we projected the film, in film. So Sharon Tate (Margot Robbie) was watching the film the way it would have been screened at that time. So they were very gracious with all of this. They found even some of the original deco poster holders in their basement and brought them out for us; they were original to 1969. Then we built pieces on the exterior of the building to hold the posters. We were very lucky that both the theaters were managed by the same company. They were incredibly great in letting us change the marquees out of LED to florescent marquees again that could have letters on them. And they let us do that overnight, as their last film came down before we closed the theater. It wasn t easy, but we were very lucky. It was the same thing with Casa Vega. They were all places that Quentin goes to, and they love him as a client and as a filmmaker. That helped a lot.Once Upon A Time in Hollywood is available now for purchase on Blu-Ray and VOD.Like this? 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1.35.3 6月喜迎epath Wanda Maximoff / Scarlet Witch (Elizabeth Olsen) and synthezoid Vision (Paul Bettany) after their lives as Avengers. Premiering January 15 on Disney+, the show opened with the two living a The Dick Van Dyke Show–inspired dream existence of dinner parties and wacky neighbors. It has since bounced forward to different eras of TV as audiences (maybe) get closer to the truth of how the duo might actually be living in a The Stepford Wives version of suburbia — especially since, well, he’s dead.(Photo by Disney+)WandaVision has been a hit with critics and audiences. The first season is Certified Fresh with a 93% Tomatometer rating and an 80% audience score.But what do these design aesthetics all mean? How do they fit into the larger MCU story? To try to get to that, we talked to production designer Mark Worthington, who explained that the sets and dialogue aren’t supposed to be “exactly like any other sitcom set from the ’50s [or another era].” He said his hope, however, is that “it evokes that feeling.”“It s more about a sort of memory, in a certain way. What is our memory of those sitcoms? What, as an audience, what would help cue that?” he explained.This is true for both the audience watching WandaVision who may spot similarities to programs they grew up watching either in real time or in reruns on channels like Nick At Nite and for a lot of the characters who have no choice but to follow orders not to change that channel.(Photo by Marvel Studios)The sets are also meant to evoke the emotions of the story. An example: The third episode, entitled “Now in Color,” blasts Wanda and Vision into the 1970s and a The Brady Bunch–style ranch house, complete with wood paneling and a sunken living room. It may seem to be one of the happiest episodes because this is when Wanda and Vision welcome their twins.“Obviously, the content of the episode drives that as well,” Worthington said. “It s colorful, it s very ’70s era, and, yeah, there s this fun positive thing that happens in the episode. So all that tracks really well.”But don’t get too distracted by the bright and shiny nostalgia. That episode also plays up the false domesticity of The Brady Bunch, with its fake, fenced-in lawn and happy homemaker lifestyle (aside from some screaming and a burst water pipe, Wanda continues early TV s tradition of having one nice and tidy birthing moment and is right back to a size two with a flawless blow-out by credits end).And, while many new mothers are protective of their young, Wanda is particularly careful of letting anyone get close. Neighbors Herb (David Payton) and Agnes (Kathryn Hahn) aren t allowed to know she s pregnant and have to secretly whisper to themselves about any bizarreness in the neighborhood. Geraldine (Teyonah Parris) pays the price for getting too close to a Wanda at a vulnerable moment and gets zapped far, far away. In the actual Brady Bunch show — as well as similar ones like The Partridge Family — the emphasis was on perfect, non-messy family values (the Brady kids didn t even have a toilet) even though off screen, those kids were not so squeaky clean.(Photo by Marvel Studios)Then there are the clues — or possible clues? — hidden among sets and the costumes, which are designed by Mayes C. Rubeo, and other factors. In the Halloween-themed sixth episode, Wanda s soccer mom take on a simple superhero costume is the shade of a mid-life-crisis red convertible with sharp horns and a cape — the character s original 1964 X-Men comics look complete with Jack Kirby headgear (which she explains as a traditional Sokovian fortune teller’s outfit). Is this connected to her line that she seemed to conjure this world because she made a deal with the devil ? And how does this connect to WandaVision s family sitcom with the upcoming seemingly more action-packed titles like The Falcon and the Winter Soldier? Judging by that show s trailer, it will have more guns, flying and explosions than TV dinners and trick-or-treating.“We have done Easter eggs,” Worthington said of ties back to the MCU grand plan.
This year’s Oscar race may indeed come down to two battle-weary veterans, with Martin Scorsese’s The Irishman and Quentin Tarantino’s Once Upon a Time in Hollywood in prime position for a classic Hollywood showdown next February. On the other side country, tucked back on a nondescript road amidst the farmland of New Jersey, sits the home of another iconic veteran who’s got a new film that may not challenge those films for Best Picture glory, but which thematically feels right at home with the Scorsese and Tarantino movies. It’s called Western Stars, and it marks the feature directorial debut of rock legend Bruce Springsteen.Co-directed by Springsteen and his longtime collaborator Thom Zimny, Western Stars is part concert film, part meditation on the complexities of getting older. With some of the film set on Springsteen’s farm and some set out among the quiet stillness of the Californian desert, Western Stars isn’t as big, bold, and flashy as both The Irishman and Once Upon a Time in Hollywood, but all three films contemplate the effects of aging, of confronting regrets and mistakes, of trying to embrace what’s there instead of what isn’t. Springsteen, who turned 70 last month, is certainly aware of the similarities between the pictures – and even more revealing: Irishman and Hollywood are two of his favorite films of the year.Seated comfortably on a couch inside his New Jersey recording studio, dressed in classic Springsteen attire (blue jeans, jean jacket and white undershirt, natch), the music legend and now film director spoke at length with Rotten Tomatoes about how his love of film has inspired him as a man and as an artist. From the Westerns of John Ford to the sprawling meditative works of Terrence Malick, the musician doesn’t hold back when it comes to his own cinematic influences.(Photo by Rob DeMartin, © Warner Bros. )“The Grapes of Wrath had a huge influence on me when I saw it – just the imagery and the story it was telling,” he said. “Of course, The Searchers and all the Westerns, which I had seen as a kid, but never really absorbed. Also, the noir stuff, like Out of the Past with Robert Mitchum… that was a huge film for me. And then there were more modern things, like Martin Scorsese’s pictures – but also I remember at the time I wrote ‘Nebraska,’ I had seen a Terrence Malick picture for the first time. [His films] are meditative; lots of voiceover… Days of Heaven, Tree of Life. The soundscape for Nebraska really came from Badlands, the Malick picture.”Springsteen told Rotten Tomatoes he began watching a lot of films when he was about 27, “from ‘Darkness on the Edge of Town’ forward.” He said: “I became a bit of a film buff; I was looking at other artists and the way they were conceptualizing their work. So of course, I ran into John Ford, and I thought it was interesting how he was working on certain consistent themes in every picture. How every picture sort of related to another one in certain ways; you had the cast of characters and an ensemble that he worked with really steadily. You know, I had my band and I was interested in telling this longer story where each album would relate to another in a certain way.”That consistency in collaboration is what also drew Springsteen to Scorsese’s work, and it’s what is top of mind when he discusses the director’s epic new work, The Irishman.“With The Irishman, it was beautiful to see that cast working together again,” he said. “To see Marty at the top of his game… those guys and that history, you’re never going to see that again. That group of actors – there’s never going to be a group of actors quite like that again. And if you grew up with them, as folks in my generation did, that’s a powerful picture.”(Photo by Rob DeMartin, © Warner Bros. )In Western Stars, Springsteen chose a unique format through which to share his newest album with the world. Instead of touring with it, he created this film as a record of the music and the stories behind each song, but also of his love for his wife, Patti Scialfa, who plays beside him on each tune with the duo backed by an orchestra inside an old barn on Springsteen’s sprawling farm in New Jersey. The film – featuring songs about lost, often broken men in search of redemption interspersed with thoughtful, almost-poetic words of wisdom from the Boss himself – feels like it’s about a man letting go of his mistakes in order to embrace the love that’s all around him.We asked Springsteen if that was an accurate take on Western Stars as a whole.“That’s as good an explanation of it as any, you know,” he said with a smile. “It’s about a trip or a journey that everyone has to make. When you’re young, you wanna do what you wanna do when you wanna do it. Individual freedom means an awful amount to you. But as you get into your thirties and certainly your forties, life begins to thin out, if that’s how you’re approaching it. And so [you’re on this] pursuit of a fuller life, and in a very strange way it’s the domestic constraints [that] provide you with a freer life. As you get older, you have a home, a place to gather yourself and reasons for the work that you’re performing. The definition of what freedom is alters as you grow older, and so the film is about the way that that word changes as time passes by. But it’s also about the price you pay if you don’t grow or change as that time passes by.”As he so often does at all of his shows, Springsteen ends the film with a more celebratory encore, covering Glen Campbell’s “Rhinestone Cowboy,” as if to leave audiences with one last anecdote: never stop chasing your dreams.“The character in the film makes this journey, and it needed to be celebrated a little bit,” he said. “When the song comes up, it’s a release for the audience. It’s also slightly connected to the genre I was working in; Glen Campbell was an inspiration for a lot of the song stylings.Of course, it’s hard not to discuss “Rhinestone Cowboy” and the aging cowboys featured in Western Stars and The Irishman without also bringing up the aging cowboys at the center of Quentin Tarantino’s Once Upon a Time in Hollywood. Springsteen not only told us that he had seen the film, but also that he’s a big fan of Tarantino’s latest. “I did see it, and I thought, yeah, that’s a funny little coincidence,” he said when the thematic similarities were brought up. “I really loved it – that was one of my favorite pictures of the past year. It was quite touching, and quite lovely.”Western Stars is in limited release October 25.

1. THE AMAZONS FROM WONDER WOMAN MAY GET THEIR OWN SPINOFF (Photo by Clay Enos. ©Warner Bros.)Following the box office success last year of Aquaman, it was surprisingly revealed that an underwater horror movie called The Trench was being planned as an Aquaman spinoff (separate from Aquaman 2, which is scheduled fro release on 12/16/2022). This week, director Patty Jenkins revealed that she also has ideas about a Wonder Woman spinoff, but this one is arguably more directly related to the first movie in particular. Discussing next year s Wonder Woman 1984, Jenkins said that the premise for Wonder Woman 3 is already known, and that the third movie is in the early stages of development along with a spinoff movie for The Amazons. Jenkins did not specify which Amazons would be the stars of such a movie, but one has to wonder if they wouldn t include characters like Robin Wright s Antiope or Lisa Loven Kongsli s Menalippe, whose roles in Wonder Woman hinted at other stories featuring them as the main focus. Other characters with Amazon connections who might warrant their own movie include Artemis and Wonder Girl, AKA Donna Troy.2. SHAZAM! 2 TO TAKE ON BLACK PANTHER 2 AND SPIDER-VERSE 2 IN 2022(Photo by Warner Bros. Pictures)There will obviously be superhero movies in 2020 (Birds of Prey, Black Widow, Wonder Woman 1984, Morbius, The Eternals, Venom 2), but it may seem like a quiet respite from the genre when you consider what s coming in 2021 and 2022. That latter year is still relatively far off, so studios are still just starting to announce their plans, but going into this week, we knew about Aquaman 2 (12/16/2022), Black Panther II (5/6/2022), DC Super Pets (5/20/2022), and the animated sequel to  Spider-Man: Into the Spider-Verse (4/8/2022), to which Warner Bros. and DC have added two more. Let s start with the sequel to this year s Shazam! (Certified Fresh at 90%), which Warner Bros. has officially scheduled for release on April 1st, 2022. Going back to two of those Marvel-related movies, please take note that Shazam! 2 is being positioned just a week before the Spider-Verse sequel, and a little over a month before Black Panther 2, which means Zachary Levi will quickly have fierce competition from Marvel and/or Sony. The other movie to keep in mind here is Dwayne Johnson s Black Adam, which will come out on December 22, 2021, and which is directly related to the Shazam! mythos (since Black Adam is one of Shazam s arch-nemeses). In related speculation, Marvel hasn t yet scheduled Captain Marvel 2, but it might be in 2022 or 2023.3. YOU D THINK THE FLASH COULD ARRIVE AT THE MOVIES FASTER THAN 2022(Photo by Warner Bros.)The other DC Comics superhero movie that Warner Bros. scheduled for 2022 this week is actually one of the projects that they first announced at a big press conference back in 2014. Many of those movies did in fact get made (Wonder Woman, Aquaman, Shazam!), but one of them that hasn t yet is The Flash, starring Ezra Miller. That s partly because directors have come and gone, and the rumored premise has shifted in those years two (including the period when it was subtitled The Flash: Flashpoint). The attached director now is Andy Muschietti (Mama, IT, IT: Chapter Two), and Ezra Miller is still expected to star in the movie as well. The Flash is now scheduled for release on July 1st, 2022, which makes it the second DC Comics movie of that summer, after the animated kids movie DC Super Pets (5/20/2022), featuring such four-legged super sidekicks as Ace the Bat-Hound, Krypto the Super-Dog, and Streaky the Super-Cat.4. LONG-AWAITED JOHN BELUSHI BIOPIC FINALLY FINDS ITS STAR (Photo by Richard E. Aaron/Getty Images)In 1989, future The Shield star Michael Chiklis starred in Wired, an adaptation of the best-selling book by Bob Woodward about Saturday Night Live star John Belushi s battles with drug addiction that ultimately led to his death in 1982. Although ostensibly about John Belushi, that movie however had an otherwise narrow focus on just one aspect of Belushi s life, so it arguably isn t a true John Belushi biopic.  However, one has been in development for several years (since 2013), and is now finally moving forward as an independent production. One has to presume that a major obstacle has been in finding an actor who can credibly portray John Belushi (sort of the point, one would presume) and the role has finally gone to Broadway star Alex Brightman, who will soon wrap up his run as Beetlejuice in June. Belushi will be directed by David Frankel, whose most famous movie was probably 2006 s The Devil Wears Prada (Certified Fresh at 75%), itself based on a roman à clef widely believed to be inspired by Vogue editor Anna Wintour.
As if the current state of things wasn t terrifying enough, Shudder films and director Rob Savage recently released a new quarantine horror tale that is as innovative as it is terrifying. Filmed remotely via zoom, the film follows a group of spirit chasers who perform a seance that inadvertently unleashes an unspeakable evil upon them. Using straight-to-camera shots of the actors as they are terrorized by demonic forces, Savage stitches classic horror elements and internet creepy-pasta with practical effects to create a new flavor of suspense. One of the most uniquely ambitious horror movies to come along this year, and it serves as an excellent reminder of the power of great genre storytelling, according to Heather Wixson of Daily Dead. Rotten Tomatoes recently sat down with Savage and asked him about his quarantine inspiration and how he worked with the actors to heighten the scares.Jacqueline Coley for Rotten Tomatoes: Did the pandemic wholly inspire the piece or did you adjust a previous idea?Rob Savage: Making a truly scary haunted house movie has always been on my bucket list, but beyond that, I had no basis for Host. At the start of lockdown, everyone was sarcastically talking about the possibility of a movie shot entirely on Zoom we were all expecting it, and nobody was looking forward to it. All of my closest friends work in the film industry, and we were already hanging out over Zoom almost every day. We just felt like, Why not us? When I had the idea of making a Zoom-based feature, the first person I called was Jed Shepherd, who I’ve worked with on a number of shorts. We threw some ideas around, but didn’t land on anything concrete. When I woke up the next morning, I had a text from Jed. Two words: Zoom Seance. It really was as simple as that.What was it like setting up the effects with the actors?The very first stunt we filmed, which involves someone crashing down from the ceiling and splatting on the floor, was particularly tough. Not for me I was sitting at home in my dressing gown but for our stunt co-ordinator Nathaniel, who was performing the gag. He was suspended by a rope, having to hold a plank position for up to three minutes while a scene played out beneath him. Then, he would be released and would free-fall until, at the last moment, a mechanism would kick in to soften his landing. The very last take, the one that we used in the film, we dropped poor Nathaniel but the mechanism didn’t kick in. He slammed to the floor like a sack of potatoes, thankfully didn’t die, and absolutely made the shot.What is the biggest challenge or unforeseen benefit of directing via Zoom?Initially, I was very nervous about the process of filming remotely, but ultimately it felt very similar to working on a normal set. As a director, you have to learn to be concise and clear with your direction, and while the energy was different because we were in separate locations, it was a really exciting and creative process. The main perk was when I had the realization that, by filming remotely, anyone with an internet connection could be part of our movie. With everyone on furlough, we were able to rope in some amazing collaborators to help elevate this film beyond what could have been achieved under normal conditions.As a Shudder obsessive, talk about getting them involved?When we started pitching the film to companies, we received a huge amount of interest this was peak lockdown, and it really felt like we might be locked down for the rest of the year. We had offers from several places, but Shudder immediately felt like the right fit. Not only did I love the work they’d been doing prior to Host, but they allowed us to stream direct to our intended audience: horror fans. We’re huge horror fans, and the question we would ask ourselves throughout the process was always What’s the film I would want to watch during all this madness? What is on your Indie Fresh List, or what are you watching in general?The last film I watched was The Painted Bird, which astonished and traumatized me. I also caught up with Mark Jenkin’s Bait, which was totally singular.Besides your film, what is the perfect quarantine horror viewing?My ultimate comfort film is Evil Dead 2. If I were forced to stay inside forever and only watch one movie on repeat, it would be that!Host is available to stream now on Shudder.
(Photo by © Buena Vista/courtesy Everett Collection)Sometimes we forget what came first out of Hocus Pocus and Halloween itself, so firmly attached has the 1993 film become to the ghoulish October holiday. It seems that every year, as regular as the changing of the leaves, Millennials drag this Disney comedy out from its dormancy like three youth-obsessed cacklers to revel once more in its over-the-top performances, zany musical numbers, and lashings of nostalgia. People still can’t get enough: Just two weeks ago Hocus Pocus was number 3 at the U.S. box office, and a reunion special is set to air shortly.Back when it first flew into theaters though, the movie couldn’t even crack the top three, opening in fourth spot before disappearing quickly. Reviews too were far from magical, with critics lamenting that while Bette Midler, Sarah Jessica Parker, and Kathy Najimy were great fun as Salem s back-from-beyond Sanderson sisters, all that delicious ham was wasted on a film that was too full of plot and ideas on the one hand (bullies! zombies!), and mediocre at best on the other. (Also: Did two kids just die in the opening sequence!? And what is with all this virginity chat!?)Listen Now:  Spotify |  Apple Podcasts  |  Stitcher  |  TuneIn  |  Google Podcasts | Radio Public | Deezer | iHeart | Art19Just like Winnie, Sarah, and Mary, though, Kenny Ortega’s film had something of a second life, casting its spell on millions of youngsters when it hit home video and, crucially, the Disney Channel. Those kids grew up and have pushed its Audience Score way up to 71%, just shy of double its Rotten 37% Tomatometer. Which is some divide. And so, with our fire good and caldron bubbling, we’re asking in our latest episode of podcast Rotten Tomatoes Is Wrong: Is Hocus Pocus actually a good film dismissed too quickly back in the day? Or is it just as bad as the critics said it was, its fans’ vision fogged up by nostalgia-colored glasses (worn over the top of the two holes in their ghost sheets).Joining hosts Jacqueline Coley and Mark Ellis is Syfy Wire Associate Features Editor Caitlin M. Busch, who has some definite thoughts on the beloved, bizarre, and strangely horny Halloween classic.Be sure to check in every Thursday for a new episode of Rotten Tomatoes Is Wrong (A Podcast From Rotten Tomatoes). Each week, hosts Jacqueline and Mark and guests go deep and settle the score on some of the most beloved – and despised – movies and TV shows ever made, directly taking on the statement we hear from so many fans: “Rotten Tomatoes is wrong.”Check out episode one:  Rotten Tomatoes Is Wrong About  Spider-Man 3Check out episode two:  Rotten Tomatoes Is Wrong About  Mortal KombatCheck out episode three:  Rotten Tomatoes Is Wrong About  Indiana Jones and the Kingdom of the Crystal SkullCheck out episode four: Rotten Tomatoes Is Wrong About  Sister Act 2: Back In the HabitCheck out episode five: Rotten Tomatoes Is Wrong About  The BeachIf you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at rtiswrong@rottentomatoes.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
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The show s fans had contributed to a GoFundMe effort to get the message out and sent a plane trailing a #SaveTheExpanse banner over Amazon Studios in Santa Monica. They created homemade trailers to promote the series and their mission to rescue it from cancellation.The passion fans have shown has floored the cast and creators. There s an enthusiasm and excitement that we d haven t really experienced before being a part of the show, said Wes Chatham, who plays Rocinante mechanic and muscle Amos Burton in the series. Also, there s a kind of relationship and a connection to the fans that s unlike anything I ve ever experienced before because they were so supportive and instrumental. We went through this thing together. It kind of like ties you. Like, I see people in Whole Foods, and we re just like hugging it out. He s like, Man, I love this show. I was there from the beginning, you know? So, we kind of have this kind of relationship and this connection. It s just an incredible thing to be a part of. (Photo by James Dimmock/Amazon Prime)Chatham also relishes the storytelling opportunity that comes with their new streaming home. Being on broadcast television in general just has its challenges, because if you re trying to tell a story, and the story wants to go somewhere that s honest and truthful, and there s a lot of edge to it, you ve got to round those edges out in broadcast television, Chatham told reporters. You got to work until commercials, you got to have the act breaks, five act breaks that go to the commercial, and have the time a specific way. You re not following the story; you re following guidelines for an advertisement. Being on Amazon, you can follow the story wherever it takes you; it can be beautiful, it can be ugly, it can be harsh, it can be violent, but you have to go through all those to be able to express the story and have it live to its highest potential, he continued. From a creative perspective, the story is the most important thing — which in broadcast TV, there s a lot of other important things — and I love that. I love working like that. I don t know if I could go back to any other version of working. (Photo by Amazon Prime)Speaking of storytelling, season 4 reflects the events of Expanse book Cibola Burn, propelling our heroes through the Ring System to the human-habitable planet of Ilus, disputed territory that a ship of Belter war refugees has settled. The settlers want their own permanent home, while Earth s government wants measured settlement of newfound Earth-like planets, and private industry wants, for one, to get in on the mining opportunities on planets like Ilus, which they call New Terra. Avasarala sends Jim Holden (Steven Strait) and crew in on a diplomacy mission, to act as her eyes and ears between the settlers and representatives of Royal Charter Energy, which had a U.N. charter for scientific exploration of the planet. My writing partner, Daniel, has a biology degree, Franck said about the origin of Ilus, and we would talk a lot about all the things that other sci-fi gets wrong with alien biology. So we started playing around with the idea of a planet with alien biology on it and the ways that that would present. That s mostly where it came from. But that alien biology is trying to kill these characters. That idea of when you go to a new place, anything there that isn t trying to kill you doesn t know you exist, Franck said. The minute something realizes you exist, it s going to try to kill you, because that s how nature works. And dropping people into that alien biology  you re a big bag of moisture with high-energy atoms in it — something s going to try to eat those, because that s delicious. The season also reaches beyond the story in Cibola Burn, which allows the writers to continue utilizing characters that didn t appear in the novel.(Photo by James Dimmock/Amazon Prime)Asked what challenges the storyline changes presented, Franck said:  This is going to sound cheesy, but it wasn t really challenges; it was opportunities. We had a novella called Gods of Risk that Bobbie Draper appears in, and we used that as the launching point for a Bobbie story this season, which was a lot of fun to write. Bobbie is one of my favorite characters to write for. Then the whole election of Chrisjen Avasarala was a thing that we had always talked about for the books but had never done, because obviously she is a politician who has never been elected. What is that like when somebody who has never been elected has to run to office for the first time? Franck continued. That was a lot of fun just watching her put up with the indignities of having to answer to anyone, because, I don t know if you guys watch the show, but Chrisjen Avasarala is not a person who likes answering to people. She s not a person who tolerates being questioned, and having her run for election where all people do is question every decision she makes and put a lot of demands on her time, that was a lot of fun. So, yeah, it wasn t challenging, it was awesome.


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Ryan Fujitani for Rotten Tomatoes: I know the initial spark for The Truth came from Juliette Binoche, but what ultimately inspired you to make your first film outside of Japan?Hirokazu Koreeda: Well, in terms of your question about what finally persuaded me to make a film outside Japan and in France, I was able to meet with the French director François Ozon several times in Japan, and he was very positive and supportive and said that, There are a lot of people who like your films in France. I m sure if you make a film in France, it will be successful. I think his words really stayed with me and really helped to persuade me. Right before filming, I met with him to tell him that I was working with [Catherine] Deneuve, and he said, Everyone says that she s so difficult, but honestly, she s the kind of actress who really wants to serve the entire film. So you ll be fine. It was very persuasive and reassuring to have him talk to me that way.RT: On that note, it seems clear how Juliette Binoche became involved with the project, being that she met with you early on, and I read that you were eager to meet with Ethan Hawke for his part right after you won the Palme d Or last year for Shoplifters. But what was the process like for casting Catherine Deneuve?Koreeda: Let s see, I had the idea suddenly in 2015 on my way back from France to Japan on an Air France flight. I had written a Japanese play for an aging Japanese actress, and it suddenly occurred to me to completely rewrite it and set it in France. And I thought, Well, if Deneuve is the aging actress, Binoche is her daughter and Ethan Hawke is Binoche s husband. That s how I start my diary entry for that day. It happened in a flash on an Air France flight.And then I had, I would say, about a total of six hours of lengthy interviews with Deneuve, and then I processed all of that, what I got from her, into strengthening and developing her character in the script. But about half of those six hours was her talking about restaurants and movies.The Truth is in select theaters and available on VOD on July 3, 2020.Thumbnail image: Everett Collection, Focus Features, Cinema Service 2. HALLOWEEN KILLS IN 2020, AND HALLOWEEN ENDS IN 2021 Ryan FujitaniFollowing the 9 million domestic box office of last year s soft reboot of Halloween (Certified Fresh at 79%), Universal Pictures and Blumhouse Productions quickly confirmed plans for at least one more Halloween sequel. More recently, it was confirmed first that Jamie Lee Curtis will be returning, and that actually it would be two sequels that will be filming back-to-back. This week, Universal and Blumhouse made it official by announcing that the sequels will be titled Halloween Kills (10/16/2020) and Halloween Ends (10/15/2021). Both sequels will have the same director, David Gordon Green, who co-wrote them with actor Danny McBride, who also co-wrote last year s Halloween with Green.3. BEN AFFLECK AND MATT DAMON TO REUNITE FOR RIDLEY SCOTT S THE LAST DUEL (Photo by Sara Cozolino/Everett Collection)Before he directed films like Alien, Blade Runner, and Gladiator, Ridley Scott made his directorial debut in 1977 with The Duellists, about French officers during the Napoleonic Wars engaged in a series of duels in the early 1800s. Things came full circle this week with the news that Scott is now attached to direct The Last Duel, which is set in 14th century France (the distinction here is that The Last Duel concerns a medieval trial-by-combat between knights). The Last Duel will also be a reunion project for Ben Affleck and Matt Damon, who will co-star and co-write (along with Nicole Holofcener). This week, Damon also signed on to star in an independent drama called Stillwater, which will also be set in France.4. WALKING DEAD SPINOFF MOVIE GETS THEATRICAL RELEASE(Photo by AMC)When Andrew Lincoln s Rick Grimes got on a helicopter last year and flew away from The Walking Dead, it was quickly announced that AMC had plans for a series of spinoff movies about the continuing adventures of Rick Grimes. At San Diego Comic-Con this past weekend, the first teaser trailer for a Walking Dead movie debuted, but the biggest surprise had nothing to do with new plot twists. Instead, the surprise was that Universal Pictures has picked up the Walking Dead movie for theatrical distribution (i.e. not just as an AMC movie). The plan is still for three movies starring Andrew Lincoln, with Lincoln expected to spend two months on each movie. Andrew Lincoln also signed on this week to join Naomi Watts in Penguin Bloom, playing Watts husband as their family befriends an injured Australian magpie chick (bird).5. JAVIER BARDEM EXPECTED TO PLAY KING TRITON IN THE LITTLE MERMAID (Photo by ©Warner Bros.)Following the casting earlier this month of Halle Bailey as Ariel in Disney s live action remake of The Little Mermaid, fans quickly began speculating about who might play her father, King Triton. Most fans picked black actors, with Idris Elba being a popular choice, but some also chose Terry Crews. As it turns out, Disney instead went with Academy Award-winning Spanish actor Javier Bardem (No Country for Old Men, Skyfall, Pirates of the Caribbean: Dead Man Tell No Tales). In the original animated movie, King Triton does not have his own song (he does have one in the stage musical called The World Above ), so it s probably likely that Bardem won t be singing in the live-action version either.6. BENEDICT CUMBERBATCH TO PORTRAY BRITISH ARTIST LOUIS WAIN(Photo by Jack English/© Weinstein Co.)The Cassius Marcellus Coolidge painting series Dogs Playing Poker is something of an iconic example of American kitsch. Around the same time in England, however, the artist Louis Wain had a similar series of paintings of cats that frequently had Big Eyes (a la Keane), exaggerated toothy smiles, or early examples of psychedelic art. It s crazy stuff, and now Benedict Cumberbatch (whose Doctor Strange also dabbled in psychedelia) is signed to star in the biopic Louis Wain for Amazon Studios. Cumberbatch s co-stars will include Claire Foy, Toby Jones, and Andrea Riseborough.7. HOPEFULLY JENNIFER LAWRENCE WON T GET STITCHES AS THE MOB GIRL(Photo by 20th Century Fox)Now that Dark Phoenix (Rotten at 23%) is done and over with, Jennifer Lawrence s time in the X-Men franchise is officially done, leaving her with no ongoing franchise (since The Hunger Games ended in 2015, and last year s Red Sparrow was a non-starter). It may well be that Lawrence will soon find another, but for now, she appears to be aiming for smaller movies. With that in mind, Jennifer Lawrence is now attached to star in Mob Girl, based on Teresa Carpenter s novel which was itself based on the true story of 1970s and 1980s mob informant Arlyne Weiss-Brickman. Mob Girl will reportedly depict how Weiss-Brickman grew up around wise guys, including running errands for them, but decided to cooperate with the FBI after a loan shark threatened to harm her teenage daughter. (Jennifer Lawrence is only 28 years old, so her daughter may be younger in this movie version.)8. CHRIS ROCK S SAW SPINOFF BUMPED UP FIVE MONTHS TO BE A BIG SUMMER RELEASE (Photo by Stephen Lovekin/Getty Images)One factor (besides, you know, all the torture) that has united all movies in the Saw franchise to date has been the release date, which has always been between October 23rd (Saw VI) and October 29th (Saw and Saw 3D). So, when Chris Rock announced that he was producing and starring in a Saw spinoff (sometimes called The Organ Donor online), the presumed release date was in October of 2020. Perhaps tying into the film s premise as a Saw spinoff and not a Saw movie exactly, Lionsgate this week bumped up Chris Rock s film to a release date of May 15, 2020 (against the Scooby-Doo reboot Scoob). Rock will star in the film as a police detective investigating a series of gruesome crimes, with Samuel L. Jackson also on board to play Rock s character s father.9. JENNIFER LOPEZ MAY DIRECT (HERSELF IN) THE GODMOTHER  (Photo by Peter Iovino/©CBS Films)The ensemble stripper crime comedy Hustlers (9/13/2019) is now less than two months away, but one of its stars, Jennifer Lopez, is already preparing for new films in 2020 and beyond. Following flops like UglyDolls, Poms, and Best of Enemies, STX Entertainment is reportedly looking for big stars for their next moves, and one of them is going to be Jennifer Lopez. Jenny from the Block is now producing and will star in a drug lord drama called The Godmother for STXfilms. Lopez may also make her directorial debut with the film, in which she plays real life Colombian drug lord Griselda Blanco, who was (real life spoiler warning) shot and killed in 2012 at the age of 69 (Jennifer Lopez is only 50). Lopez s next film after Hustlers will be the romantic comedy Marry Me, costarring Owen Wilson. This week, the Marry Me cast expanded as Lopez and Wilson will now be joined by Sarah Silverman and British actor John Bradley, who has a lot more time on his hands now that his run as Samwell Tarly on HBO s Game of Thrones is done.Like this? Subscribe to our newsletter and get more features, news, and guides in your inbox every week.

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更新时间 2021-11-30
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