Park Chan-wook’s ‘Decision To Leave’ Is A Detective Story Tangled Up With Romance

And so, everyone was very excited that this would really bring up the numbers of Korean film audiences, and it would create a boom. PARK: It had a huge influence in the Korean industry. But then the pandemic hit, and everything just fell apart. It gave Korean filmmakers a lot of confidence, and it also helped the audience pay more attention to Korean cinema, so it had huge consequences for the industry. So that was another influence. On top of that, it was as if everything was planned out: Squid Game was a massive hit, and so it made audiences—I think—watch content at home more.
It also deals with the 1970s. I’m participating in the writing of all episodes and directing part of the series. PARK: I will be the show runner for The Sympathizer. Most of the story takes place in LA, but it also features Saigon, Vietnam, as a key location. The novel is already out there, so the plot is available for anyone to read, but [this version] takes a lot of interest in the clash and also harmony of Eastern values and Western values. And it deals with the ideological problems of that time period, the excess of ideology of the cold war era and how that excess really destroys the individual. It’s an exploration on those ideas, which is a topic that’s very familiar to a Korean like me.” /> It’s an HBO seven-episode series about Vietnamese-Americans in the mid-’70s, based on a novel by Viet Thanh Nguyen.
We were grabbing a cup of coffee and we started talking about our next project, and I brought up what I was thinking about that love story between a man and a woman, and so we started talking about what kind of profession this male character should have. At the same time, Jeong Seo-kyeong, the screenwriter that I always work with, was visiting London with her family to see me. And then that’s when I brought up the fact that I love Martin Beck, the Swedish crime detective novel series that features a very charming detective. And then Jeong Seo-kyeong brought up Tang Wei, and the fact that she wants to work with Tang Wei and that we should create a character that Tang Wei could play. And so, I talked about how I would love to create a character like that, and then we started talking about the female character, what kind woman is she?
DEADLINE: What draws you to strong female characters, and how do you create them?
DEADLINE: Why did you take them out?
That’s never the case. That’s a something I remember, but it’s very rare where I just give them a reference film. They’re almost non-existent, except for a few exceptions. I remember for Thirst, I told Kim Ok-bin, our female lead, to watch Isabelle Adjani in Possession. PARK: I don’t really know the answer to that. It’s just continuing conversations during pre-production, all work together to make this, to actualize my idea. It’s not like I set the mood or concept beforehand and tell the staff and crew that this is what we’re going to do. It just happens. I don’t offer a lot of references for the actors and crew.
Director Park’s trademark is not just his fluidity when dealing with genre but his mastery in bending it to his will—and Decision to Leave promises to be yet another stylish, category-defying composition. Park Chan-wook made a big impact in Cannes in 2004 with his lurid revenge drama Oldboy, which took the Grand Prix from Quentin Tarantino’s jury, made a cult star of Choi Min-sik, and alerted audiences everywhere to the perils of eating live sushi. Since then, the director has been a semi-regular fixture at the festival, returning in 2009 with his literary vampire horror Thirst and again in 2016 with The Handmaiden, a delirious, taboo-busting erotic thriller set in 1930s Korea.
DEADLINE: What is the premise of Decision to Leave?
He doesn’t quite know what it is, and there are other detectives who are suspicious of her, but nonetheless, although he doesn’t want to acknowledge this, he is unknowingly attracted to her for some reason. He feels a mixture of suspicion and this attraction, so he starts to carry out an in-depth investigation on her. And so, the detective calls in the wife of the dead man to have her confirm the identity of the man, but he notices that there’s something special about her. PARK CHAN-WOOK: A detective is dispatched to a scene of death of a man who has fallen from the mountains. There are three possibilities with this case: either he took a wrong step during a climb and he accidentally fell, or he committed suicide, or someone pushed him off the cliff.
DEADLINE: Since when have you ever followed genre conventions?
A lot of people focus more on these strong female characters, but it’s not that I intentionally try to make them strong. Regardless of male or female, whoever it is, I just want to create characters with strong personalities, characters with their own voices who still have a quality of life to them where you feel like they are people who exist in our real world. I think perhaps it’s because strong female characters are relatively rare in narratives, and that’s why people are paying more attention to those characters. PARK: I never thought to myself that I should intentionally create strong female characters.
We try not to use those phrases because this film is quite distant from concepts, traditional concepts like that. But you might have noticed that in the press release, we don’t bring up film noir or femme fatale. So, in other words, this film is less genre-based. For this film, I prioritize the personal and real emotions that individuals have. And so, because this is a romance, because there is love between these two characters, these personal emotions end up influencing the investigation, which means those elements are inseparable. Of course, it does feature a police investigation, but it doesn’t really follow the genre conventions.
PARK: Her performance in Lust, Caution left a stark impression on all of us, and there is also a film that is not well known outside of Korea—she was in a film called Late Autumn, which was really popular in Korea. She’s like this abyss, a deep well, and… I don’t want to call her mysterious, but she has this depth that makes you curious. Tang Wei as an actress, she has this boldness in her, where there seems to be no limit to what she can express, but at the same time, it’s very difficult to figure out what she’s thinking about. So, she has both qualities, which is quite rare for an actor. And so Korean audiences are very familiar with Tang Wei, although she’s a Chinese actress, because Late Autumn was a Korean film by a Korean director [Kim Tae-yong]. She’s hard to read.
If someone comes up with an idea, I might say, “Oh, but that’s what we did in Oldboy. Another thing is I always insist that my next film is different from my previous film. So, I think you can say that my distinct mood is created by me trying to avoid things that remind people of other works. We shouldn’t do that.” So, my strategy is avoiding things that remind you of references, including my own films and great films made by amazing directors in the history of cinema.
PARK: [Laughs] Well, I think it’s more prominent in this film that I don’t follow these conventions.
DEADLINE: The official description of this film is “police procedural/romance”, which is a very unusual hybrid.
My collaboration with Jeong Seo-kyeong might also be another reason. And also, because she joined the project, from then onwards, I started to pay more attention and affection to these female characters. Working with her has made me pay more attention to female characters than before. So, I think everything just influenced everything else—because I wanted my final film of the Vengeance trilogy to feature a female lead, I asked writer Jeong Seo-kyeong to join project. But it is true that even before I met Jeong Seo-kyeong, I thought to myself that the last film of my Vengeance trilogy, Lady Vengeance, should feature a female lead.
PARK: Honestly, there’s no special creative reason behind that. And so, the audience would sit through the [first chapter], that’s almost the length of a usual feature film, and then the ‘Chapter Two: Ocean’ subtitle would come up. It’s just that the film is so long—it’s two hours and 18 minutes, the entire running time. And so, I thought that might to make the audience feel fear and that, “Oh my God, we have to sit through another film…”
DEADLINE: How long have you known Jeong Seo-kyeong, and how does the collaboration work?
DEADLINE: One last question: what’s next?
PARK: You could say that I wanted to create a film that has both the elements of a police procedural and a romance film, but that’s not exactly what I wanted to do. People who are in love, they quarrel as well. What I wanted to create was a film where the police procedural is not separated from the romance where the investigation in itself is a process of their love blossoming. They flirt and there’s a kind of push and pull that goes between two people who love each other. So, if you take the interrogation, for example, where the detective and the suspect sit across from each other and they talk and the police interrogates her, that entire process could seem like a process of their love blossoming. And I thought the interrogation process could be quite similar.
DEADLINE: What about the setting?
DEADLINE: Why were you both so keen to work with Tang Wei?
We’ve worked on many films together. Even to this day, she’s still my best friend. The only sad thing is that now she’s become so famous that she can’t give me a lot of time [laughs]. It feels like we’re watching that process through an ultrasound. So, as I mentioned before, often we start talking about a project from a blank slate, where nothing has been determined yet, and so we constantly go back and forth. It feels like when a baby is in the womb for nine months, it starts from a cell and then it ultimately grows into a human being. We talk, we argue and debate and let it take shape. And I really enjoy that process with her. PARK: It was before Lady Vengeance, so let me try to figure out how many years… I think I first met her around 2003 or 2004.
DEADLINE: Speaking of Director Bong, how has his Oscar success affected the Korean film industry?
DEADLINE: Was the film affected at all by the pandemic?
DEADLINE: What inspired you?
PARK: There’s a song that’s featured in the film, a Korean song called "The Mist". It was a big hit when I was little—I listened to it a lot, and I loved the song after I grew up as well. And so, after hearing that song, I thought about featuring the same song sung by a male singer and a female singer in one film, and, naturally, I began to think about a love story between a man and a woman based around that song. I was searching for that song on YouTube for the first time in a while and I discovered that the same song was sung by a male singer. It’s a singer that I almost worship, and I discovered that when I was in London in the middle of post-production for The Little Drummer Girl. It’s a famous song sung by a female singer. It’s a popular song from the ’70s.
There was a crew member who came in contact with a Covid patient, so our shoot was stopped for a day or maybe half an afternoon. PARK: There were influences, but they were pretty minimal and not significant. So close friends of mine in the industry, like Song Kang-ho and Bong Joon Ho, they weren’t able to visit me on set, which made things boring. In Korea, it’s customary to visit the set of a close filmmaker. It’s very customary, but because of the pandemic we couldn’t have any of that because guests were not really welcome. That happened a couple of times, but we weren’t really influenced by the pandemic. If you’re friends, you go hang out on set and after the shoot you grab a drink together.
In the film, the two characters quote a line from Confucius, where they say that kind people like the mountains and wise people like the ocean, and they bond over their affinity for the ocean and their dislike for the mountain. The stories are quite segregated depending on which environments they happen in, and the personalities are starkly different as well. And although this device is gone from the film now, until the very last stage of editing, we actually divided the story into two chapters. PARK: Of all my films, this film does feature the most natural environment. Chapter One was titled ‘Mountain’ and Chapter Two was titled ‘The Ocean’—that’s how important these two environments are, the mountain and the ocean. And so, this is a moment where they realize that they share this trait.
How do you create that? DEADLINE: All of your films have a very distinct look and a mood.

Cannes Review: Ali Abbasi’s ‘Holy Spider’

At one point, Saeed estimates with a beatific smile that he would break the back of his mission if he killed 200 women; they just need to let him get on with it. His smugness with his own virtue is the most immediately revolting thing about him. There are those — including Fatima, his wittering surrendered wife (Forouzan Jamshidnejad) — who are convinced he could never be convicted for what amounts to a jihad against sin. Saeed is a war veteran imprinted with propaganda about martyrdom and guilt that he survived; he isn’t necessarily sane. Actually, correction. The worst thing about him is the fact that he collects fans.
The ones who are junkies don’t fight back much, but some are stronger. True, he can be irascible. His pubescent son can feel the fists of righteous rage if he doesn’t watch out and, although he would be loath to admit it, he does find the business of finding and killing those filthy working women stressful. Saeed (Mehdi Bajestani) is a builder and devoted family man, especially when indulging his adorable little daughter. We know who the killer is.
He was doing God’s work. Watching Ali Abbasi's thunderously damning Holy Spider, on the other hand, it drives a wedge into your mind knowing that a serial killer really did terrorize the Iranian holy city of Mashhad in the early 2000s, that he killed 16 street prostitutes, that there were police who conspired to help him escape and that there were people in Iran — a lot of people, he keeps assuring his family — who were on the murderer’s side. Sometimes it hardly matters whether we know a story is based on truth or not.
It crackles and glistens with anger. Reduced to one line, it sounds like a rerun of a dozen thrillers. Holy Spider never feels like a safe genre choice, however. Border won the prize for the best film in Cannes sidebar section Un Certain Regard in 2018. Quite the opposite. Swedish-Iranian director Ali Abbasi’s last film was the unclassifiable Border, a fable about outcasts and aliens in which an unfortunately grotesque Swedish customs official turns out to be a troll. Holy Spider is in the festival competition — nominally a step up from UCR’s ranks of newcomers and experimentalists — and is ostensibly a more conventional kind of film, a crime thriller in which a courageous, driven young female reporter (Zar Amir-Ebrahimi) unpacks the scandal nobody in power wants to touch.
He kills them at home; conveniently, his wife takes the children to see their grandparents once a week. Then he dumps the body somewhere local, calls the crime reporter on the local paper — who has recorded all their conversations, but never thought or been asked to hand these over to the police — and goes home, having cleaned up one more street corner. If he finds himself aroused by the struggle, he prays to Allah.
Watching women being strangled is disturbing, obviously, but these scenes are stripped back to the basics, with bright, flat lighting: while you’re here, Abbasi seems to be saying, you might as well know the horrible truth. What are they doing now?” /> The greater truth, of course, is that the right-wing press, fundamentalist zealots and all their fellow-traveling misogynists who lionized Saeed and his dreadful acts — including his son, who we see vowing to continue his quest — are just 20 years older.
By the time she decides that the best way to reel in the killer would be to use her own body as bait, nothing she would be willing to do seems too outlandish. The woman clearly has a spine of steel. Rahimi arrives in Mashhad from Teheran, riding a bus filled with pilgrims. It is no surprise to see her life portrayed as an obstacle course of everyday: the hotel clerk who won’t give her the room she has booked because she has arrived without a husband, the strangers who tell her to cover more of her hair, the newspaper colleague who clumsily asks her about rumors about her sexual past, the way the police officers she interviews smirk as they ask about that past rather more directly.
Rahimi’s investigations lead her into dark alleys — actually shot in Jordan — and darker ways of life, often shot in deep shadows that give the film an occasional patina of film noir, with a surging score by Martin Dirkov exploited for full melodramatic impact as the murders keep coming.

‘Doctor Strange In The Multiverse Of Madness’ Enters $800M+ Dimension WW; ‘Uncharted’ Tops $400M & ‘Bad Guys’ Crosses $100M Overseas – International Box Office

1 worldwide and international release of 2022 and the second biggest Hollywood movie of the pandemic. In IMAX, the Benedict Cumberbatch-starrer has now grossed $55.8M. 11 so far on a global basis. Among 28 MCU features (and excluding China and Russia), the Sam Raimi-directed spin on the sorcerer lands at No. It has also become the No.
Director Lee Sang-yong's sequel to 2017’s The Outlaws follows a cop who heads to a foreign country to extradite a suspect. It's wonderful to see Korea's box office bouncing back. But soon after arriving, he discovers more murder cases and learns of a vicious killer who has been committing crimes against tourists for several years. Among local-language pics, Megabox’s The Roundup had a $29.2M five-day opening in Korea, including $700K from IMAX on 17 screens for the 2nd highest launch weekend of a Korean title ever in the format.
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Rounding out the Top 5 are the UK ($43.8M), Mexico ($35.7M), Brazil ($29.2M) and Australia ($23M). Overall overseas, Korea remains the top play at $45.9M (a new local movie went bonkers there this session — see below).
Last weekend we posed the question as to how high this cloak and swagger can go, and thinking is now that the Doctor could top out around $950M worldwide when all is said and done. And that's without China and Russia in the mix.
Refresh for latest…: Disney/Marvel’s Doctor Strange In The Multiverse Of Madness crossed $800M globally this weekend, now with $803.2M after three frames. Of that $342.1M is from domestic and $461.1M from the international box office. The offshore drop was 53% with $40M from 49 markets.
One of the rare movies to do decent numbers of late in China, The Bad Guys has now grossed $25.5M there, overtaking The Batman and closing in on Fantastic Beasts: The Secrets Of Dumbledore to become the No. Japan releases in October. Other notable cumes include the UK ($15.6M), Australia ($10.9M), Spain ($7.2M) and France ($6.3M). 1 Hollywood movie of the year in the market.
Sony’s Uncharted, meanwhile, muscled past the four-century mark this weekend globally, grossing $400.7M. Overseas it has mapped out $253.1M since releasing in January. The Tom Holland/Mark Wahlberg-starrer is the 4th biggest video game adaptation of all time worldwide.
The weekend was good for $6.6M in 68 markets — just a 4% drop from the previous frame. The Bad Guys became one of only five animated titles to the $100M offshore benchmark during the pandemic. That brings the offshore total to $107.8M and global to $182.2M.
There were also some milestones in the mix as Sony’s Uncharted topped $400M worldwide and Universal/DreamWorks Animation’s The Bad Guys stole past $100M overseas.
In general, holds were good at the international box office this weekend, boding well for next weekend when Tom Cruise returns to the big screen in Top Gun: Maverick following a global press tour that likely could be seen from space.

David Unger Creates Artist International Group To Rep Talent From Foreign Shores — Deadline Disruputors

“That has happened, and it will only continue to grow.”” /> “We believed the rest of the world was going to matter more, and that talent in these countries would have an outsized prevalence because of what they represent to their domestic market,” Unger says.
He also has Donnie Yen, who stars opposite Keanu Reeves in the upcoming John Wick sequel, Slumdog Millionaire’s Anil Kapoor, 355’s Fan Bingbing, Ludovic Bernard (Lupin) and Pachinko’s Lee Min-ho, to name a few. Having already achieved proprietary joint ventures in the U.K., France, Spain, Mexico, Brazil and Korea, AIG sees opportunities for performers all around the globe. Unger’s international track began when he signed Chinese actress Gong Li two decades ago. He has since picked up clients such as Michelle Yeoh, who just starred in Everything Everywhere All at Once and the upcoming Avatar sequels.
Unger and other reps who have leaned into global talent management are finding their clients in high demand, thanks to the need by streamers with stagnant domestic subscription growth to make indigenous series and films. Judging by the success of everything from Shang-Chi and Lupin, to Parasite, Narcos, Squid Game, Money Heist and Fauda—and the flood of talent those projects introduced to Hollywood—the move has certainly been validated.
His father produced Don’t Look Now, and his grandfather owned Charlie Chaplin’s film library. “I spent 25 years nurturing international voices, and they have never mattered more in this streaming economy,” says Unger, whose international sensibilities came from growing up in London and observing the business from that side of the pond.
During his lengthy career as an agent, David Unger saw there was a future in representing actors from the growing international marketplace. That’s what led to the creation of the Artist International Group in 2019.

Cannes Review: Valeria Bruni Tedeschi’s ‘Forever Young’

Anything goes, as long as it draws the desired attention and, down the line, makes people willing and eager to pay for the privilege of beholding those with charisma and an ability to transform the everyday into the exceptional. As part of the process, actors need to learn how to draw people to them and make them watch, which often requires those being observed to resort to various extremes of behavior.
Although it’s cut to the absolute bone, the film still overstays its welcome, as there’s just so much one can take of the characters’ self-dramatizing self-regard. Show people, as they used to be called, are usually fun to be around, at least some of the time, but these narcissists are just a drag.” />
If you’re the parent of a kid who’s thinking about becoming an actor, nothing could be scarier than watching Forever Young (Les Amandiers).
And most of all, of course, they just want to be loved. The proceedings begin with an exceedingly intense audition scene in which hopefuls are bluntly asked, “Why do you want to act?” Very quickly, the answer becomes clear, even if not stated directly — it’s because they crave attention, need approval and have emotional needs that can only be fed by people making them feel that they’re important.
If anything, the characters’ self-absorption is increased here, and the most self-centered of them all wastes no time in finding the drugs he craves and becoming a steaming mess because of them. In all events, the 40 contenders are eventually whittled down the chosen dozen and in short order the group is hurtling around lower Manhattan, in the vicinity of the Public Theater.
Valeria Bruni Tedeschi’s overweeningly verité-style look at young members of theater whiz Patrice Chéreau’s legendary company in the 1980s is a let’s-put-on-a-show spectacle of an extreme order, one that emphasizes and encourages unlimited narcissism, uncensored selfishness, massive drug consumption and self-destructive behavior that would have made the Sex Pistols envious.
This element alone makes the film a major turn-off. AIDS tragically enters the picture at this point, but the overriding element you take away from the film is the truly overwhelming degree of narcissism these people feel with little reason to warrant it. The play chosen for them to perform is a lesser-known Chekhov work, Platonov, but this is of minor importance compared to the characters’ all-consuming self-absorption, which becomes tiresome by the time everyone abruptly decamps back to Paris.
Those seriously into the performing arts of the last four decades might be curious to check this out, but it’s a tough sit nonetheless. This Cannes competition entry is a deep dive into an all-for-art lifestyle that encourages, nay, insists upon waywardness and irresponsibility and the hell with anything else.
The competition is intense, of course, and the film catches bits of the heartbreak and exultation experienced by those vying for positions with the company. It’s also, to be honest, somewhat confusing, as the director cuts so fast and close to the bone that anything resembling normal narrative coherence is forsaken; you mostly get the gist of what’s happening, but you can forget about any conventional storytelling niceties; this is a film quite uninterested in developing character and story as they normally function.

Film Academy Member Jeff Cooper Guilty Of Three Counts In Child Molestation Case

But the jury could not reach a verdict on the five counts involving his other accuser. On Friday, his trial jury convicted him on three felony charges of a lewd act on a child involving one of his accusers. Judge Alan Schneider declared a mistrial on those charges.
The two accusers are now 16 and 28 years old. The 66-year-old architect was charged with multiple counts of child molestation, according to court records. Los Angeles County Special Victims Bureau detectives arrested Cooper in June 2018. The acts were alleged to have occurred between November 2006 and November 2007 on one victim, and between January 2012 and July 2016 on the second.
“Obviously the families are disappointed that the jury didn’t convict as to one victim, but they are very pleased to see the jury at least convicted as to the second victim,” said Dave Ring, an attorney for the two accusers and their families, talking to the Los Angeles Times. “It was incredibly satisfying for them to see Cooper immediately remanded to prison for what he did. They’ve been put through nothing short of hell during the last four years of criminal proceedings.”
A jury rendered the verdicts Friday after a two-week trIal at Los Angeles Superior Court in Van Nuys. The decisions come four years after Cooper's arrest and grand jury indictments on eight counts involving two children.
Deadline reached out to Cooper’s attorney, Alan Jackson, but he did not respond immediately.
Cooper became a member of the film academy in 2002.
Cooper's work as an architect includes designing an Academy of Television Arts and Sciences theater, as well as more than two dozen mixing studios that produced Academy Award nominees, according to his buisness website.
Jeff Cooper, an architect known for his movie theater and studio designs for such names as George Lucas, Francis Ford Coppola, Martin Scorsese and Steven Spielberg, has been found guilty of three counts of child molestation.
Sentencing has been set for June 1, with Cooper facing up to 12 years in prison. Cooper has been free on a $5-million bond. He is being held without bail after the judge called him a flight risk.
We would have grounds, under our rules, to expel any member convicted of a violent crime,” the organization said in a statement before his trial.” /> “The Academy has been made aware of the alleged abhorrent behavior and will address this matter according to our Standards of Conduct and the due process requirements under California nonprofit corporation law.

Cannes Review: Marie Perennes & Simon Depardon’s Docu ‘Feminist Riposte’

It’s clear that many of the women — who also include gender minorities and trans or non-binary people — are just getting to know each other, united by a shared cause. This allows them to share revealing stories.
Initially, it’s a bit like attending a party: some conversations are fascinating, others feel a bit repetitive and you want to move on. But as the women’s stories become more serious and personal, the film becomes more impactful as it highlights the urgency of their mission.
This powerful scene also gives a personal context to the messages that the women paint and glue onto walls at nighttime, highlighting the frightening number of femicides in France. The camera captures the bravery, intimacy and awkwardness of this moment. One young woman slowly describes being isolated by her older boyfriend when she was underage. There are many women who did not escape their abusers, and a testimony from the mother of a murdered girl is deeply moving. An older colleague breaks down in tears, unable to express her response. She tells how he moved her to a different town and subjected her to abuse and death threats.
Filmmakers Marie Perennès and Simon Depardon follow 10 groups of women around the country who are protesting about harassment, rape, femicide — and about the police response to these crimes. This is about giving a voice to the young women, recording their dialogue about the cause. “Les flics” — aka the cops — are a silent force in this film, policing protests with grim faces. “Sexism is everywhere — so are we.” It’s just one of many slogans plastered across the streets of France in the timely documentary Feminist Riposte (Riposte Féministe) which is in the Special Screenings section at Cannes.
On a nighttime mission, one young woman carefully debates where to glue a poster in a small residential street, whispering, “I don’t want to ruin their wall, all nicely plastered.” This thoughtful protester is a good poster girl for the cause. Let’s find solutions, indeed.” /> There are also charmingly humorous moments.
Male passers-by frequently stop to query or comment on their slogans — some supportive, some confused, others hostile. A girl calls out a group for making “animal noises” at them — this is about challenging harassment, and it’s good to see.
After a brief narrated introduction, the filmmakers are silent observers, allowing their subjects to relax and chat. The cinematography is crisp and steady, giving this a slick, cinematic feel. Sometimes they’re in a bar, or in the street; one time they’re sat in a circle at home with some scene-stealing kittens. We aren’t given names or formal backstories: just an attractive shot introducing each town, city or rural area (remind me to book a holiday to Compiegne).
There’s talk of violent responses (“Your hand on my ass, my fist in your face”) and an alarming chant of “Let’s impale all males!” A girl later reasons that this is a playful quote from a song, and that she’s not anti-men: “I’m more in the mode of: ‘Let’s find solutions’ than ‘you’re all sh*ts’.” As with most protest movements, opinions can differ about the best approach.

Pete Davidson Gives ‘SNL’ Producer Lorne Michaels A Rap Video Tribute With A Surprise Cameo

But in this cut-for-time video, Davidson, who has become known for his SNL rap videos for the last two years, dives deeper into just how much he reveres Michaels. In the process, he name checks all the SNL greats that Michaels has discovered, and gives a shout-out to his fellow cast members who are departing the show with him.
Pete Davidson made it abundantly clear during his "Weekend Update" farewell on Saturday Night Live that he owes a deep debt of gratitude to showrunner Lorne Michaels.
Watch the video and decide for yourself.” />
In this case, the naysayer who pops up in the end is pretty good at the rap game himself and has earned the right to be selective in what he endorses. While the video is well done, there's always a critic.

Mick Jagger On Harry Styles: “I Was Much More Androgynous” Than Him

He added, "And he doesn’t have a voice like mine or move on stage like me; he just has a superficial resemblance to my younger self, which is fine — he can’t help that."
Mick Jagger can't get no satisfaction when fans claim the Harry Styles version of gender expression takes it beyond where the Rolling Stones singer once went.
Jagger is 78, while Styles is 28.” /> Both have worn dresses for public consumption and are known for heavy eye makeup and flamboyant attire.
Come on, I was much more androgynous." Jagger told The Sunday Times, "I like Harry — we have an easy relationship. I mean, I used to wear a lot more eye make-up than him.

Cannes Review: Ethan Coen’s ‘Jerry Lee Lewis: Trouble In Mind’

In any discussion of Jerry Lee, the elephant in the room is his marriage in 1958 to his 13-year-old cousin Myra Brown, which Coen and his editor (wife Tricia Cooke) throw in after a mere 15 minutes or so. Myra reappears in the film later as a grown woman, but in the first instance the documentary proceeds to recount not only how the scandal ruined Lewis’ career but how he won back public favor without ever seeming to show contrition.
Coen’s film arrives at Cannes at a crucial time, and there are valid criticisms to be made about the decision to platform such a figure. But what’s priced into any discussion of Jerry Lee Lewis is that the truly dark side of his personality has always been a concern, and what Trouble In Mind does deceptively well is to remind us that, without these very real torments (Brown calls them “demons”), these incendiary performances might never have existed (an exhilarating call-and-response Little Richard medley with Tom Jones shows Lewis at his finest without resorting to his usual flamboyant, wild-man foot-on-the keyboard theatrics).
Coen’s Special Screenings Cannes Film Festival entry Jerry Lee Lewis: Trouble In Mind enters a very crowded music-doc field with an approach that may confound those expecting a linear narrative and the traditional talking-head format. What they’ll get is a largely first-person recollection, using snippets culled from many years of the singer’s TV interviews, interspersed with amazing live footage that highlights his incredible versatility, moving effortlessly between rock’n’roll, rockabilly, blues, blues-soul, country-rock and country-blues; acing subgenre after subgenre.
For his directing debut after brother Joel’s first solo outing with The Tragedy of Macbeth, Ethan Coen has chosen a similar saga of ruthless ambition and soul-devouring guilt, telling the rise and fall — and rise again — of Jerry Lee Lewis, from farmer’s son to rock’n’roll idol.
“But he went back to him, didn’t he?” adds the host. “He did not,” corrects Brown. Nevertheless, dark moments do erupt at intervals, and in one fantastically Coens-esque juxtaposition, the film cuts from Lewis’ bizarre 1970s reinvention as an Andy Williams-style family entertainer (the array of outfits on show here are rivaled only by Stanley Nelson Jr.’s Miles Davis: Birth Of The Cool) to a clip of a chat show host reminding the now much older Myra Brown of the time her ex-husband shot his bass player.
Quote: Jerry Lee Lewis.” Surprisingly, Lewis has kinder things to say about Chuck Berry, a perceived rival and subject of an anecdote not repeated here but seen in the watered down biopic Great Balls of Fire when Lee sets fire to his piano and yells, “Follow that…” In Trouble In Mind, he says, "Chuck Berry was the king of rock’n’roll.
Given the controversy that dogged Lewis all his life, not least the unfortunate mortality rate amongst his many wives, Trouble In Mind does go surprisingly easy on him, and the tabloid material excluded here would easily make up a doc of similar length, if not longer.
Nevertheless, it’s hard not to be shocked by the casual laughter that greets Bob Hope’s comment on the matter when he quips, “Jerry Lee Lewis just became a father — he adopted his wife.” The context of working-class American society plays a large part in this, as the filmmakers establish his enormous family network and the lesser-reported fact that, at 22, Lewis had already been married twice, first at the age of 16.
Though it explains Lewis’ place in the firmament of rock’n’roll as it was originally configured back in the day, Coen’s film doesn’t ever expand on that; Elvis Presley is literally a background presence seen in a blown-up shot of the so-called “Million-Dollar Quartet,” the outfit formed in Sun Studios comprising Lewis and Presley with Carl Perkins and Johnny Cash. Asked about Presley’s success, Lewis sneers that Elvis only made it because he had a manager — Colonel Tom Parker — who treated him like “a monkey in a cage.”
A better title for the film comes from a conversation Lewis had back in the early days with Sun Records maestro Sam Phillips, during gaps in recording any number of his one-take 1950s hits, from “Whole Lotta Shakin’ Going On” to “Great Balls of Fire.” Tortured by his love of rock’n’roll, Lewis — who styles himself as “Christian-minded” rather than Christian like his cousin Jimmy Swaggart — voices his concerns about the ungodly feelings his musical talent unleashes in him, asking, “How can the devil save souls?” It’s a question that haunted his peers, notably Johnny Cash (fleetingly glimpsed) and Little Richard, but Lewis arguably went much further than either in his tempestuous private life. The opening of the film sets this up with eyebrow-raising archive video of Lewis playing "She Even Woke Me Up to Say Goodbye" on The Ed Sullivan Show, undercutting the bleeding-heart sentiment of the song with a demonic, sarcastic performance.
His rendition of "Amazing Grace" may not be enough to satisfy his faithful fans, let alone save his mortal soul, but it is a poignant place to bid farewell to a man who, perhaps unaware of the term “projection,” calls everybody “Killer.”” /> Throughout the film, Lewis’ face is a sardonic mask, heavy-lidded eyes and waxy skin, but it becomes shockingly frail in the film’s closing coda, a gospel session recorded in 2020.

Utopia In U.S. Rights Talks For Ali Abbasi’s Shocking Cannes Competition Iranian Serial Killer Thriller ‘Holy Spider’

Previous releases include Sharp Stick, American Dharma and Mickey And The Bear.” /> The acquisition marks the biggest deal to date for the upstart Utopia, formed in 2019 with a "filmmaker first" approach.
Iranian-Danish director Abbasi won the Un Certain Regard competition several years ago for his Swedish troll movie Border.
sales and distribution firm owned by Robert Schwartzman and Cole Harper. The provocative Cannes Competition film premiered today on the Croisette to strong applause and positive notices. rights with Utopia, the U.S. EXCLUSIVE: Holy Spider, the Ali Abbasi-directed Iranian serial killer thriller, is in talks for a deal for U.S.
Pic is written by Abbasi and Afshin Kamran Bahrami, and stars Zar Amir Ebrahimi and Mehdi Bajestani. Producers are Sol Bondy (The Tale) and Jacob Jarek (Speak No Evil).
CAA Media Finance is brokering the domestic deal while Wild Bunch is handling sales on the film about a serial killer who is killing sex workers in the holy city of Mashhad, a pilgrimage destination (and the second largest city in Iran).  Based on a true story, the film centers on a female journalist from Tehran who is trying to track the killer down – and who faces a lot of opposition from the authorities, as many secretly support the “spider killer” for removing a scandalous element.

Colin Cantwell Dies: ‘Star Wars’ Death Star And Spacecraft Designer Was 90

That work became valuable to newsman Walter Cronkite during his moon landing broadcast in 1969. Cantwell communicated between NASA and the astronauts, feeding updates to Cronkite.
In addition to his film work, Cantwell’s wrote two science fiction novels, CoreFires 1 and CoreFires 2.
Born in San Francisco, Cantwell graduated from the University of California, Los Angeles with a degree in animation. He then was personally invited by Frank Lloyd Wright to attend his School of Architecture.
Before he made his way to Hollywood, Cantwell already had an amazing career. Cantwell worked at the Jet Propulsion Laboratory and NASA, creating educational programs for the public to better understand space flights.
Cantwell is survived by Sierra Dall, his partner of 24 years.” />
He was 90 and his death was confirmed by Sierra Dall, his long-time partner Colin Cantwell, whose design work on the Star Wars spacecraft thrilled generations of moviegoers, died Saturday at his Colorado home.
Cantwell’s film credits include special photographic effects for 2001: A Space Odyssey, technical dialogue for Close Encounters of the Third Kind, and computer graphics design for WarGames. His Star Wars design and construction credis include the prototypes for the X-wing, TIE fighter, Star Destroyer, and the Death Star.

On The Road To Cannes, Paapa Essiedu Can’t Take His Foot Off The Gas — Ones To Watch

He describes those scenes with Buckley as “super intense” and “no holds barred”. She really goes in. You’ve got to have real courage to go there, and she definitely has. I was really like, ‘Wow, I need to step up.’” Essiedu spends a lot of screen time with Buckley, who was Oscar-nominated for her role in Maggie Gyllenhaal’s The Lost Daughter. She puts more than 100 percent into every single moment of the film, but especially in our scenes, which are about a husband and wife that are going through a difficult patch. He explains, “It takes a lot out of you because she is so committed.
“To be honest, I don’t know,” he says, “but it was very close. Would acting’s loss have been medicine’s gain? And to think he might never have become an actor, having originally gone to school to become a doctor before dropping out and attending Guildhall School of Music and Drama instead. Essiedu is being modest here, having made history in 2016 when he became the first Black actor to play Hamlet at the Royal Shakespeare Company. Described by the Washington Post as “charming, combustible, [and] lightning with language,” Essiedu received the British theatrical Ian Charleson Award for playing Hamlet and King Lear for the company. I had a place at college that I was going to take up, but I made a bit of a last-minute U-turn.”
“We auditioned on the same day,” he recalls. I do count myself lucky in meeting her, but more as someone that’s in my life, as opposed to for work reasons. Last year, a role he did as a favor for an old drama-school friend—playing Kwame in Michaela Coel’s hit series I May Destroy You—led to Bafta and Emmy nominations. Essiedu was surprised to find that fate had more in store for him than the Bard. Obviously, being a part of her show has been a big part of my professional life, but even when I was doing it, even when I said that I wanted to do it, I was mainly doing it because she was my mate. And it just so happened—obviously, because she’s brilliant—that it turned out to be brilliant, and the character that she made for me was brilliant. So, yeah, she’s a very, very important person and figure in my life, for many reasons.” “I remember chatting to her on the escalator in Moorgate tube station in London, and we were like, ‘This is mad,’ because both of us were from East London, and both of us were like, ‘We don’t know anyone who does this sh*t.’” So, we had that kind of bond from the beginning.
At the RSC, Essiedu’s Hamlet was a modern-day graffiti artist with a wicked tongue. I hated it, but there was just a real difference when I had the opportunity to do it, to see those pieces of work as something other than a literary bible, to see them as something living and breathing, that could be changed. He does find it ironic that his breakout moment occurred in a Shakespeare play, even a reimagined one. I thought it was so, so boring, and just so impenetrable, people talking in a language that I don’t understand about things that I don’t care about, being taught by someone who didn’t give a f*ck. I’ve always been interested in Shakespeare as a reimagination, as opposed to recreating something from once upon a time, and when we did Hamlet that was a big part of our modus operandi—how can we make this play relevant to our world?” “It’s proper weird, because when I was at school, I f*cking hated Shakespeare.
“I’m not so good at doing synopses without spoilers, as you can probably tell.” She goes to the country, rents out an Airbnb to get away from it all, and spends time in one of those oh-so-recognizable English hamlets where she encounters various men. “The context,” Essiedu explains, “is it’s about a woman in the aftermath of the death of her husband. Essiedu plays James, the widow’s late husband. The film is Garland’s third as a director, and it has already piqued much interest for its strange trailer, which stars Jessie Buckley as a grieving widow, along with a number of characters all played by British actor Rory Kinnear, a familiar face from the sinister Penny Dreadful television franchise. Those encounters impact her in various ways, and let’s just say it gets increasingly tense and increasingly distressing, until…” He stops himself and laughs.
“I’m on holiday, and I’m still coming to terms with that. I find it hard to ever justify taking my foot off the gas, but, I’m in Rio de Janeiro, I’m on holiday, and I’m owning it.” Essiedu left London at the insistence of his partner, who was rightly concerned about the amount of work the actor had been doing lately. It is also probably a suitable time to decompress before Essiedu dives into the madness of Cannes, where he can be seen in Alex Garland’s surreal psychological thriller Men, due to screen Out of Competition in Directors’ Fortnight. “I’m in Rio de Janeiro,” confides the actor. Paapa Essiedu has a secret.
Even after the Baftas and the Emmys, however, Essiedu still can’t fathom where it all started to go right. After promoting Men at Cannes, he will walk straight into promotional duties for his Sky sci-fi series The Lazarus Project, which he describes as “a kind of world-building, time-bending love story.” He’s also set to appear in the BBC cop show The Capture, before starting on Kill the Light, an adaptation of Anthony Quinn’s novel Curtain Call.
Growing up in Walthamstow, where his Ghanaian mother raised him after his father died in his early teens, Essiedu had little to no experience in the arts, much less anyone to guide him on that path. I didn’t know anyone who’d been to drama school, so the idea of people on TV, or people in films, being, like, normal people who had jobs was just surreal—those two things were completely separate for me. “Look, I didn’t know anyone who was an actor,” he says. So, to meet people who were like, ‘Yeah, we enjoy this acting thing and we’re going to train in it so we can do it as a job,’ was a real baptism by fire, in terms of the knowledge that I was gaining.” “There are no actors in my family, or even artists in my family, I don’t think.
But I was lucky enough to get jobs in plays and in big theater companies that gave me the opportunity to watch big actors do plays night after night. I was able to see what they were doing that was interesting, or exciting, or that was inspiring audiences, and then I could try and figure out how to put that into my own process.” That has allowed me to learn while doing, because I know that when I left drama school, I was not very good at all. Always trying to make sure the next thing has been better than the last thing. “Still today, it feels absurd,” he says, “the idea of ‘making a go of it’, because it’s such a difficult industry and there are so many aspects of it that are hard. Looking back, he still cannot remember a eureka moment that galvanized him. it has been a case of incremental steps forward. Graduating from drama school, getting an agent, getting my first job…
“I feel very lucky to have had the trajectory that I’ve had,” Essiedu says. It was a way more gradual process, and I feel very lucky for that.”” /> “I don’t think I would’ve done very well if I was one of those actors whose first job was Spider-Man or whatever.
Deadline’s annual group of Ones to Watch in Cannes is made up of actors and filmmakers who are all bringing something fresh to the festival. The distinction isn’t always reserved for brand new faces; rather, we’ve selected people who are branching out, or who find themselves in waters where they are liable to make waves. Cannes can be a place of reinvention, after all.

‘Law Abiding Citizen’ Sequel In The Works With Village Roadshow & Rivulet Films

Village Roadshow Pictures’ Tristen Tuckfield and Jillian Apfelbaum will executive produce on behalf of VRP. Rivulet Films’ Rob Paris and Mike Witherill are producing alongside Foster and Wimmer. Foster will produce under his Warp Films banner.
Tuckfield and Apfelbaum, VRP’s EVPs, Feature Film, stated, "We’re thrilled to partner with Rivulet on the sequel to Law Abiding Citizen. Collaborating closely with Kurt and Lucas will lend the creative authenticity necessary to make a film worthy of its predecessor." It’s a title that exemplifies the scope and breadth of the Vine library.
Rivulet Films recently acquired John Wick writer Derek Kolstad’s original screenplay Acolyte, which they are backing and producing alongside Swiss distributor/producer Ascot Elite Entertainment.” />
Smith, for Twentieth Century Fox. Foster has produced such films as Man on Fire, Jumper, and Mr. He most recently produced Morbius for Columbia Pictures and Ford v Ferrari for Twentieth Century Fox which was nominated for four Academy Awards, winning two. & Mrs.
Wimmer is represented by Verve, and Hansen, Jacobson, Teller, Hoberman, Newman, Warren, Richman, Rush, Kaller, Gellman, Meigs & Fox and attorney Barry Littman. Foster is represented by Peter Nichols of Lichter, Grossman, Nichols, Adler, Feldman and Clark.
The storyline is being kept secrets. The first movie starred Butler and Jamie Foxx and was directed by F. The pic in December on Netflix became one of the top three most viewed movies alongside Dwayne Johnson and Ryan Reynolds’ Red Notice and Sandra Bullock’s The Unforgivable. Gary Gray, and followed assistant district attorney Nick Rice’s (Foxx) pursuit of Clyde Shelton (Butler), a frustrated father who implements an elaborate and twisted plan to bring down the entire judicial system in Philadelphia after a plea bargain sets free the man who murdered his wife and daughter.
Foster said, "I am delighted to partner with Rob, Mike and Village Roadshow Pictures, together with my frequent creative partner Kurt Wimmer, to revisit these great characters and this compelling topic which seems even more relevant today than when we made the original film. We’re going to blow your mind… again."
Paris and Witherill said, "The demand for smart, star-driven action thrillers in the marketplace is palpable, and this is one of those rare unexploited franchise opportunities that was too good to pass up."
He recently wrote the original screenplay titled The Beekeeper an action film that David Ayer is on board to direct with Jason Statham set to star. Wimmer and Foster have also teamed on Equilibrium, starring Christian Bale; Street Kings, starring Keanu Reeves; and, most recently, a reboot of Stephen King’s Children of the Corn. Wimmer wrote such movies as 2012's Total Recall for Columbia Pictures, 2015's Point Break for Alcon/Warner Bros., Salt for Columbia Pictures/Sony Pictures Entertainment and The Thomas Crowne Affair for United Artists/MGM.
A follow-up to the $130M-plus grossing movie Law Abiding Citizen is happening with producer Lucas Foster and screenwriter Kurt Wimmer returning, as well as Gerard Butler and his G-Base partner Alan Siegel reprising their roles as producers.

Gender Equality Report: Swedish Film Institute Finds Female-Led Feature Films Spend More Than A Year Longer In Development Than Male-Led Projects

Statistics show that although great improvements have been made in the film sphere, men are overwhelmingly the filmmakers behind the titles released
The gender of the producer, however, does not appear to affect the length of time Films with female directors take an average of 138 days longer to be completed than films with male directors.
The report showed that women in key positions have access to considerably lower budgets than men, and that the percentage of women in key positions decreases as budgets increase
Documentary confounds the trends
ones that focus on opportunities, achievements and development. ones that focus on potential pitfalls, risks and how they will be prevented Investors tend to ask male entrepreneurs promotion-focused questions, i.e. Female entrepreneurs are more often asked prevention-focused questions, i.e.
Highlights of the report include:
Of the 358 new film projects among the applications for development funding 2016–2017, 31 films were eventually released (as of October 2021). It is noteworthy though that films with female filmmakers drop off later in the process. Looking at the process as a whole, it is clear that women drop off to a greater extent than men. Only among directors do we see an increase in the percentage of women from first application to release. On the one hand this could be interpreted as women filmmakers being given greater opportunity to explore and develop their film ideas, but it could also mean that they are tied for longer than men to projects that do not ultimately result in a film being made
The Swedish Film Institute today launched its annual gender equality report. The survey '406 Days', which looks at gender disparity in the development and production process, demonstrates that the average female-led fiction feature spends over one year longer in development than projects led by male filmmakers.
With the minister for Culture and Democracy from Sweden and the minister of Culture from France, the Swedish Film Institute organized a successful event in Cannes 2016, where the Swedish Film Institute launched “50/50 by 2020”, which has had a wide-reaching impact on the global film industry. In 2014, the Swedish Film Institute was the first public film financing body to achieve gender parity in public film funding.
Looking at overall development funding applications for documentary film, it is clear that as with feature-length fiction film, gender equality varies across the years but has relatively equal gender distribution in the various key positions
Funding:
The report is primarily based on quantitative analyses of the Swedish Film Institute’s own data, looking at films released in the past five years, and then to look back by analysing what the process was like for them, from initial development funding to finished film.
Of the documentary films monitored since the first application in 2016–2017, women represent 45 percent of the directors, 48 percent of the screenwriters and 47 percent of the producers for the 32 films that were released
For first time funding applications, only 35 percent of the applications were for films with a female director, and 38 percent were for films with a female screenwriter. As producers women represent 45 percent of these films, which is a far more equal gender distribution than for the two other key positions.
Projects made by women are generally considered a higher financial risk, and that this therefore reduces the willingness to finance projects with higher budgets
The difference in the time it takes for female key positions to complete a film can be wholly explained by the longer time it takes for women from a film being granted its first development funding to its being granted a Letter of Intent (LOI), a confirmation of production funding from the Swedish Film Institute
On average, more development fundings are granted to films with women in key positions (director, screenwriter or producer). Although film projects with women in key positions receive more development funding, the long development phase still leaves these filmmakers financially vulnerable. However, development funding accounts for only a small percentage of a film’s overall budget, particularly when it comes to projects with a medium or high budget.
 ” />
Read the full report here
The opposite is true for feature-length documentary film is the opposite of feature-length fiction film. For all key positions, it takes longer for men to complete than for women. It is primarily the production phase that is longer for men.
For all development funding applications, the Director key function has the lowest proportion of women with 41 percent, while the corresponding proportion for Screenwriter is 47 percent and Producer 49 percent
This is particularly evident for film projects with female screenwriters. It generally takes longer for films with women in key positions to be completed. For these it takes 406 days longer on average than projects with men from first development funding to actual release. This means that it takes an average of four years, four months for films with female screenwriters to be completed
Production:
A marked difference between the funding via private equity for films with male versus female directors

Fashion Wunderkind Devon Ross Strikes A Pose In HBO’s ‘Irma Vep’ — Ones To Watch

“But I also love the Rolling Stones and Keith Richards: I grew up listening to them, they’re like my uncles in my head. “I’m waiting for someone to make that film because I’d love to play Patti.” I feel like I know them, but I don’t.” And if the actor work continues to come, she’d like it to be known that she’s a big fan of Patti Smith’s 2010 memoir Just Kids. “I’ve always loved Elizabeth Taylor—she’s just gorgeous,” she says. Unlike her peers, Ross has some very different ideas about glamour.
Let the people know.”” /> “That’s my dream,” she says, “so put it out there.
She’s a huge cinephile—she’s obsessed with film and she’s working towards making her first feature, so she’s in the right place at the right time.” I play Regina, Mira’s assistant. “She’s kind of disillusioned by her fame and her relationships. I guess she’s been traveling for a really long time and doesn’t have anywhere to call home. “Mira’s a movie star, and she’s going to Paris to make a film called The Vampires,” Ross says.
The distinction isn’t always reserved for brand new faces; rather, we’ve selected people who are branching out, or who find themselves in waters where they are liable to make waves. Cannes can be a place of reinvention, after all. Deadline’s annual group of Ones to Watch in Cannes is made up of actors and filmmakers who are all bringing something fresh to the festival.
And now she will make her acting debut. Directed by Olivier Assayas, working from his 1996 film of the same name, she appears in the HBO mini-series Irma Vep, which screens in the Cannes Premiere section and stars Alicia Vikander as Mira, an actress on the verge. With her no-fools-suffered, rock-chic attitude, Devon Ross looks like she’d be more at home in the Runaways than on a runway, but the 22-year-old has become one of the most sought-after models in the fashion world, representing Gucci, Mulberry and Valentino.
You just get your photo taken, and there’s nothing better than that.’” At 15, she recalls, “I was like, ‘I want to do something with my life.’ So, I went to a modeling agency and I was like, ‘Take me or leave me.’ They signed me and then it just all started from there. My mom was a model, so I grew up looking at her portfolio and I was always, like, ‘This seems like the best job ever. The same thing might be said for Ross herself.

John Travolta, Stephen Dorff Action Thriller ‘American Metal’ Picked Up By Saban Films

Travolta, Dorff and Benson are repped by ICM Partners. The deal was negotiated by Shanan Becker and Bill Bromiley for Saban Films, Matthew Helderman for Bondit Media Capital and producer Corey Large. Untitled Entertainment represents Fernandez. Atlas Artists is managing Stephen Dorff. Large is repped by Scott Karp at Syndicate.
Shiloh Fernandez (Evil Dead) Ashley Benson (Spring Breakers) and Kevin Dillon (Platoon, The Doors, Entourage) also star.
Saban Films has taken global rights to the John Travolta and Stephen Dorff feature, American Metal.
The feature reps the second film with Travolta and Dorff for 308 Entertainment’s Large, following the upcoming Saban release Paradise City.
Demented. He is best known for portraying Stuart Sutcliffe in Backbeat, Johnny Marco in Somewhere, and for his roles in Blade and Cecil B. Dorff most recently starred in Old Henry alongside Tim Blake Nelson and Embattled for IFC Films.
Simpson attorney Robert Shapiro. O.J. He also recently earned a Primetime Emmy Award nomination for Outstanding Actor in the comedy Die Hart with Kevin Hart. Travolta previously team with Saban Films on I Am Wrath, Speed Kills and the upcoming action film, Paradise City with Dorff and Bruce Willis. His feature credits include Get Shorty for which he received a Best Actor Golden Globe – Comedy or Musical award and a Primetime Emmy award for Outstanding Limited Series for FX's The People vs. Simpson — American Crime Story on which he played O.J. Travolta received two Best Actor Oscar nominations for 1977's Saturday Night Fever and 1994's Pulp Fiction.
The pic was produced by 308 Entertainment’s Corey Large (The November Man, Kid Cannibis, Paradise City) and Bernie Gewissler (Dead Hipsters, Midnight in the Switchgrass) in association with Bondit Media Capital.
Filming just wrapped in Georgia with Saban Films looking at a 2023 release. However, when the theft turns violent, he finds himself hunted by both the police and the Dixieland mafia. Writer and first-time feature director Nicholas Maggio’s film tells the story of a desperate and struggling family man who robs a pill mill.
Saban Films recently acquired: the real-life WWII spy thriller Lives in Secret, starring Hugh Bonneville and Charlotte Gainsbourg; Ana Lily Amirpour’s Mona Lisa and the Blood Moon starring Kate Hudson and Jeon Jong-seo; Brett Donowho’s western The Old Way starring Nicolas Cage; and Adam Sigal’s reincarnation dark comedy Chariot with John Malkovich.” />

Cédric Jimenez Stays On The Police Beat With Film Based On Paris Terrorist Attacks — Ones To Watch

The latter was acquired by Netflix outside France where it was the No. 2 local movie of 2021 with 2.2 million tickets sold. It also scored seven César nominations. The film began its career out of competition at the Cannes Film Festival last July, and this year Jimenez is returning to the section with Novembre, another work that looks at the police, but through a different lens.
Cannes can be a place of reinvention, after all. Deadline’s annual group of Ones to Watch in Cannes is made up of actors and filmmakers who are all bringing something fresh to the festival. The distinction isn’t always reserved for brand new faces; rather, we’ve selected people who are branching out, or who find themselves in waters where they are liable to make waves.
He was signed by Range Media Partners in late 2020 and is prepping Verde, about Ingrid Betancourt and Clara Rojas’ captivity in the Colombian jungle.” /> But off the back of The Stronghold’s strength and with the potential for Novembre, the Marseille native now seems primed for more significant crossover. Jimenez has also worked in English, directing 2017’s The Man With The Iron Heart (HHhH), and was at one point attached to the Graham Moore-scripted Mind Fall.
They include 2014 Toronto Film Festival debut The Connection (La French) about magistrate Pierre Michel, who waged an obsessive six-year battle to bring down Marseille’s infamous ‘French Connection’ drug ring; and last year’s box office hit The Stronghold (Bac nord), based on a 2012 police corruption case, also in Marseille. French director, writer and producer Cédric Jimenez is known for his gritty crime thrillers inspired by real-life stories involving specific police departments.
Jean Dujardin (who also led The Connection), Anaïs Demoustier, Sandrine Kiberlain and Jérémie Renier star in the thriller which Jimenez has described as being “about life and the tsunami that hit the police when [the attacks] happened”. With the emotional subject of the 2015 terrorist attacks in Paris that left some 130 dead as its background, the film is likely to have extra poignancy given the currently ongoing trials of suspects and accomplices involved. Novembre dives into the activities of the French anti-terrorist subdivision of the police during the five days following the attacks.

Cannes Review: Ruben Ostlund’s ‘Triangle Of Sadness’

There are no such contradictions in Triangle Of Sadness. Top of the pile, of course, are the customers who can afford to demand anything they want. This is a business unambiguously all about cosseting the very rich, supported by the rigid hierarchy of shipboard life. Carl and Yaya, having survived their tiff over the restaurant bill, are probably the poorest passengers on board; Yaya is a major influencer and they are cruising for free. It is set on a luxury yacht cruising somewhere sunny. There is a British couple who made their money from land mines, a drunken Russian oligarch traveling with both his wife and his mistress who made his money by cornering the fertilizer business in Eastern Europe; and a Swedish code writer who struck it lucky by writing code for gaming.
Whatever she wants. She becomes leader, so now she can have what she wants. They’re all brown. When a storm comes and the guests start a volley of criss-crossing projectile vomiting — a gross-out comic scene that makes anything in Judd Apatow’s portfolio look maidenly — the brown people clean that up too. She knows how to fish, how to make a fire, how to find edible plants and how to survive. And while they may not be able to do much when pirates attack and the yacht goes down, the few survivors whose life rafts make it to a beach — who include our beautiful models, along with oligarch and the coding billionaire — find themselves entirely dependent on one of those anonymous brown people. Then there are the people below decks, who keep the boat moving and elaborate meals zipping up to the dining room.
Chief steward Paula (Vicki Berlin, in a sprightly performance) gives high-rev talks to her bright, white young staff, telling them to keep smiling and always say yes. When he finally emerges, he is leaning like the Tower of Pisa. Paula effectively runs the show while the captain (Woody Harrelson) refuses to leave his cabin, where he listens to the Red Army choir singing the Internationale and self-medicates. He hasn’t forgotten his Lenin, though, which stands him in good stead in an amiable slanging match with the fertilizer king. Next level down the food chain is the crew.
Yaya earns much more than he does, but expects him to pick up the check. It culminates in an argument between Carl and his girlfriend Yaya (Charlbi Dean) — also a model — over who is paying for dinner. This takedown of the fashion biz acts as a preface to Triangle Of Sadness. “I need to know the person I’m with is going to take care of me.” But that, as she will discover in the next couple of chapters, is never a reliable assumption. “What if I fell pregnant and couldn’t work?,” she reasons when he protests that he wants an equal relationship.
You had to smile. Triangle Of Sadness is a mission statement about equality: that it doesn’t exist, that it cannot exist, that while calamity may bring the downfall of the top dogs, new curs will replace them and behave in exactly the same way. Ostlund’s Palme winner The Square was certainly hard on its characters; a sharp satire of the art world, it scratched away at the contradictions between the genial left-wing pieties of the cultural establishment and its reliance on unsavory capitalism for funds. It told us that these people — people like us, people like Ostlund — were not as decent as they thought, as illustrated in series of wry twists.
For Ostlund, the beach where his survivors wash up is a fishbowl where betrayals and selfishness, the real stuff of life, can be seen for what they are. It can be about finding bliss (The Odyssey), showing stoic courage (Robinson Crusoe), how vile people really are once they are no longer constrained by the rules (Lord of the Flies) or how even a volleyball can be a friend (Castaway). As it is, Triangle Of Sadness is bitter, clever and absolutely on the money.” /> I suspect Ostlund thought it would be rather more fun. Being stranded on a deserted island: it’s one of the founding myths of Western literature.
The titular Triangle Of Sadness in previous Palme D’Or winner Ruben Ostlund’s current Cannes competition entry, we’re told, is the small space between the eyebrows and the bridge of the nose where nasty, aging lines register an accumulation of inconvenient emotions that, quite frankly, don’t sell a suit on the catwalk. Carl can’t even find a seat. He will soon find himself at a fashion show where a huge neon screen announces “Everyone is equal!” That’s nonsense, obviously. “Do you think he needs Botox?,” mutters a model casting agent as Carl (Harris Dickinson) — who, being on the wrong side of 20, should worry — struts his stuff.

Netflix Closing In On $50M+ WW Deal For Emily Blunt Package ‘Pain Hustlers’ With David Yates Directing: Cannes Market Big Splash

EXCLUSIVE: Netflix might have had a bumpy few weeks, but the streamer is poised to strike the first major Cannes deal on a hot market package.
Liza’s charm, guts and drive catapult the company and her into the high life, where she soon finds herself at the center of a criminal conspiracy with deadly consequences. Pain Hustlers is said to be tonally similar to such films as The Big Short, American Hustle and The Wolf of Wall Street. The film centers on Liza Drake (Blunt), a high-school dropout dreaming of a better life for her and her young daughter, who lands a job with a failing pharmaceutical start-up in a yellowing strip mall in Central Florida.
Pic, introduced to buyers at the Cannes Film Market by The Veterans and CAA Media Finance, is due to begin production in late August.
BAFTA winner Yates is best known for directing the last four films in the Harry Potter franchise, as well as all three Fantastic Beasts films. His work for the big screen has grossed more than $6BN dollars worldwide to date. He has also helmed TV series such as State of Play, Sex Traffic and The Way We Live Now.” />
Wells Tower wrote the script. Lawrence Grey will produce under his Grey Matter Productions banner, alongside David Yates and Yvonne Walcott Yates’ Wychwood Pictures. (It was Grey who initially brought the project to Yates in pitch form, thereafter selling it to Sony Pictures.) Lewis Taylor and Ben Everard are executive producing, with Cyrus Mojibi, Patrick Wade, Lawrence Kao and Lloyd Everard serving as co-producers.
We understand Netflix is closing up a $50M+ world rights deal for Pain Hustlers, with A Quiet Place star Emily Blunt attached for director David Yates (Fantastic Beasts: The Secrets of Dumbledore).
The actress will also soon be seen in Christopher Nolan’s film Oppenheimer for Universal. Golden Globe winner Blunt's recent film credits include Jungle Cruise, A Quiet Place and A Quiet Place Part II and Mary Poppins Returns.

Belgian Filmmaker Lukas Dhont Moves Up To The Main Stage In Second Trip To Croisette — Deadline Disruptors

A stunning start for the young Belgian, the movie brought him the Caméra d’Or and myriad other prizes down the line. Now, four years later, Dhont is returning to Cannes with his follow-up, Close, which has landed him in the main competition. Lukas Dhont’s Cannes debut was also his debut feature, Girl, which ran in Un Certain Regard in 2018.
Looking back at Girl, the story of a 15-year-old girl born in the body of a boy, who dreams of becoming a ballerina, and the controversy it sparked—some trans critics called it irresponsible—Dhont calls it a learning experience. At the end, it was an experience in which I gained a lot of maturity.”” /> “I try to do everything in my life with authenticity, and love and respect for who I am and who others are, and I also have the same respect for people’s opinions. I think dialogue is something very important to me.
That close friendship is disrupted when something happens in their lives that changes the course of it. Close is centered on two 13-year-old boys who have been friends forever. Dhont describes the movie as being about “the deep connection and the vulnerability of friendship, and masculinity.”
It feels like friendships define who we are, maybe more than our other relationships.” He was inspired after returning home to Belgium post-Girl and recalling his first friendships and love stories. The intimacy of male friendship I haven’t seen as much on screen as I wanted to. “I felt the urge to discover and explore male friendship.
“It’s such a personal film to me that sharing it at that scale is something.” “Of course, we had an amazing journey with Girl, but we feel Close is more personal and universal.” It’s also a little nerve-rattling. “It feels unbelievable,” Dhont says of graduating to the Lumière theater.

Friday Ratings: ‘Shark Tank’ Season Finale, WWE ‘SmackDown’ Tie For Night’s Demo Crown

CBS dance competition Come Dance With Me tapped out an 0.2, trailed by Magnum P.I. and Blue Bloods reruns.
That didn't help trailing newsmag 20/20, which weighed in with a 0.3 profile of a Texas man accused of killing his parents, a charge he steadfastly denies. They heard pitches on health products, game-worn athletic gear, a specialty boxing glove, and fast food vegan chicken. Sharks Mark Cuban, Lori Greiner, Kevin O'Leary, Barbara Corcoran and Kevin Hart scored an 0.4.
That gave a slight bump to newsmag Dateline, which offered an update to the murder case involving a former doctor accused of killing his wife. It came in with an 0.3. At NBC, The Blacklist held steady at an 0.2, as Raymond Reddington finally learned who was responsible for Liz’s death.
The CW had the last days of Charmed and Dynasty, coming in with an 0.1 and 0.0, respectively.” />
The season finale of ABC's Shark Tank and a shocking WWE Friday Night SmackDown were the top two demo winners this Friday night.
It saw The Usos overcome RK-Bro in the highly anticipated title unification match to become the undisputed WWE Tag Team Champions. Fox's WWE Friday Night SmackDown also claimed an 0.4. But their victory was overshadowed by a stunning announcement on a WWE female tag team's troubles.

Johnny Depp To Be Called As Witness For Amber Heard Defense In $50M Trial

Judge Penny Azcarte has said that she wants closing arguments to occur on May 27.
It is almost certain, regardless of who is on the witness stand and who the jury finds for ultimately, that there will be an appeal in the defamation case in Virginia.” />
EXCLUSIVE: It looks like there's going to be a sequel to Johnny Depp's testimony in the former Piractes of the Caribbean's star's $50 milion defmation trial against Amber Heard.
However, a source close to the Depp legal team confirmed that the actor will almost certainly take the stand first thing next week. Representatives for Amber Heard and her legal team had no comment when contacted by Deadline about the witness schedule.
That countersuit came just a few months before Depp proved unsuccessful in his UK libel suit against The Sun tabloid for calling him a "wife beater." Depp has also proved unsuccessful in all attempts to appeal that verdict. Proving unsuccessful in getting the lawsuit dismissed, Heard filed a $100 million countersuit in the summer of 2020.
The defense is anticipated to rest their case early next week.
The bold move by Heard's defense carries as much risk as advantage. Aquaman star Heard was the second witness for the defense, taking the stand for two days before the trial went on a one-week break, and two days after it came back earlier this week. While critiqued for being glib and unforthcoming on occasion, Depp did deliver a fairly compelling articulation of his insistence that he never was abusive to his Rum Diary costar during their relationship and subsequent marriage.
While he said nothing to this effect during the couple's 2016 restraining order-filled divorce, Depp has insisted over the last three years that he never abused Heard, and in fact, is the victim of abuse himself. This widely covered and dirty laundry airing trial all stems from Depp's March 2019 lawsuit against Heard over the late 2018 Washington Post op-ed she penned. In that piece for the Jeff Bezos-owned broadsheet, Heard called herself a survivor of domestic abuse.
Depp will follow an anatomy expert and an IPV expert in what is the last week of the April 11-starting trial. Over two weeks after last appearing on the stand in the Virginia-set trial, Depp will be called by the defense as a witness on Monday, we've learned. The fired Fantastic Beasts star will be the third witness on May 23.

Dave Chappelle Is ‘The Opener’ For John Mulaney Show In Ohio

Audience phones were locked in a pouch, so no video of the moment exists. John Mulaney's show in Columbus, Ohio had a surprise warm-up for the main star – Dave Chappelle, who came for a visit from his nearby Yellow Springs home to lend a hand.
He was briefly engaged by a couple in the audience. A Chappelle joke that offended some was about his recent encounter at the Hollywood Bowl with a stage crasher.
“I mean, it wasn’t a gun, it was a knife! A gun that identifies as a knife?” Chappelle said. The homophobic joke was him reportedly saying, “Maybe you two are gay, I don’t know, nothing wrong with that if that’s the case.” "He then paused, smiled a bit, and moved on quickly.
Mulaney hugged Chappelle at the end of the set, but Fils-Aime said that the embrace Doesn’t indicate his “stance” or anything.
There were some online complaints about Chappelle's surprise appearance from those still smarting from his allegedly transphobic comments in his Netflix specials, particularly, The Closer.” />

Clay Jordan Dies: ‘Survivor’ Thailand Runner Up Was 66

No cause of death has been announced, but People reported he "died Thursday after a short illness." His wife Linda died earlier this year after coming down with Covid, according to People.
He was 66. Clay Jordan, the runner up on Survivor's Season 5 Thailand installment has died, according to a social media post by his daughter.
Shanda Jordan wrote on behalf of herself and her brother, "Andy and I are so heartbroken." She called her father "my HERO" and said that they took comfort in knowing their father was "no longer in pain."
Here is the entire text of his daughter's Facebook tribute:
He is survived by Andy, Shanda and several grandchildren.
It is kicking my butt! All I can do is sleep!" I can’t wait to feel like a human again. A Facebook account for Linda Reeves Jordan, which is linked to from his daughter's announcement, includes a post from January 26 that reads, "Clay has had covid for 6 days and I have had it 5 days. Prayers please.
https://www.facebook.com/shanda.jordan/posts/10227058635189704″ />
Season 5 of Survivor was shot in 2002 and Jordan went the whole 39 days before Brian Heidik was named Sole Survivor by a jury vote of 4–3.
We love you, Dad! Clay Brooks Jordan, my sweetheart of a Dad, went to heaven to meet Jesus and be reunited with his beautiful bride!" she wrote. You will forever be my HERO! "Andy and I are so heartbroken, but we get comfort from knowing they are together and he is no longer in pain.
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Jordan lived in Monroe, Louisiana, and worked at Industrial Fabrics in Baton Rouge, according to his Facebook profile.

‘I Gotta Ask My Wife’: Fox Developing Multi-Cam Comedy From Finesse Mitchell & Warren Hutcherson

Hutcherson has written and produced for a number of television titles including SNL, Moesha, Living Single and Raven's Home. In 1992 and 1993 he earned Primetime Emmy nominations for Outstanding Individual Achievement in Writing in a Variety or Music Program, which he shared with the SNL writing team.
Fox Entertainment is the studio. Mitchell will pen the pilot with Hutcherson. They executive produce alongside Rick Dorfman for Authentic Talent & Literary Productions.
Mitchell is represented by ICM, Authentic Talent & Literary Management and Hirsch Wallerstein Hayum Matlof & Fishman.” />
EXCLUSIVE: I Gotta Ask My Wife, a multi-cam comedy starring Saturday Night Live alum Finesse Mitchell, is in the works at Fox, Deadline has learned exclusively. The project hails from Mitchell, who also executive produces and writes alongside Emmy-nominated scribe Warren Hutcherson (The Bernie Mac Show).
He since has starred in the one-hour comedy specials Snap Famous, One Man Monster and The Spirit Told Me to Tell You. His recent television credits include Kenan, Outmatched, Roadies, According to Him + Her and A.N.T. Farm. An actor, author and stand-up comedian, Mitchell became known during his three-year run on Saturday Night Live, creating a number of characters including “Starrkeisha” and impersonating Morgan Freeman and 50 Cent during his tenure from 2003-06. He is in production on his fourth while also producing the weekly podcast Understand This with Finesse Mitchell.
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Inspired by Mitchell's stand-up act, I Gotta Ask My Wife is an edgy comedy that follows the friendship among three men, all living in the same apartment building, at different stages in their romantic lives: one in his 20s, single and looking for love; one is a thirtysomething who can’t get divorced fast enough; and one a happily married father of two (Mitchell) who just wants to “chill” (code for: stay out of trouble) at home with his wife.

The Legacy Of “Good Trouble”: Alfre Woodard, Common Headline First Gala For John And Lillian Miles Lewis Foundation

Chastang said that they plan to hold Good Trouble talks several times a year in other parts of the country.
"It will be whomever people want to hear from or need to hear from in those various communities," she said. The foundation, she said, has been working with schools and universities to develop curricula "that is aligned with the priorities of the congressman — non-violence, protest, peace. That's exactly what he would want us to do." …
John Lewis, the civil rights leader and long-time congressman who died in 2020, left a legacy in the creation of a foundation to carry on his push for young people to stay civically engaged — what he called "good trouble."
James Clyburn (D-SC), Sen. Jon Ossoff (D-GA) also spoke. this week, Alfre Woodard and Common were among the figures who helped officially launch the effort, at a gala at a the Hamilton Hotel. Raphael Warnock (D-GA) and Sen. It included a performance by Common, as well as a preview of a series of conversations called the Good Trouble talk. This one featured Common and Charlayne Hunter-Gault. House Speaker Nancy Pelosi, Rep. In Washington, D.C.
In an interview with MSNBC this week, Woodward said, "Because it is the Lewises, the mission is guided with moral clarity and truth and integrity. She added that the foundation is focused on political participation and voting rights for the next generation.
The event raised money for the John and Lillian Miles Lewis Foundation, named for Lewis and his wife, who died in 2012. The organization got its tax exempt status in 2019, but after his illness and then the Covid pandemic, officially launched in February, said its CEO, Linda Earley Chastang.
"I was born a Black female child in Oklahoma," she said. I am not saying you have to go out and organize and march in the streets, which is a really good exercise as brother John Lewis told us, but it is imperative because you don't exist if you don't show up."” /> "You have no recourse other than to be involved.
Jim Lawson." The workshops were the origins of the Nashville Student Movement, which challenged segregation in the city through non-violent protest. She added, "He learned what he calls 'the way of peace,' ' the way of love,' in the basement of First Baptist Church in Nashville, Tennessee with his friends Diane Nash, Bernard Lafayette and others, under the tutelage of Rev.
We want to do that with schools and communities around the country," she said. "We'd like to do just what he did, what he benefited from, how he learned the way of peace and the way of love.

‘FBI: International’: Luke Kleintank Teases Dangerous Season 1 Finale, Shares Update On Tank

With the episode titled "Crestfallen," could it reference Forrester someone being the disappointed party?
The episode is action-packed and we're bringing back a lot of people from prior episodes," he shared. "No, you're not going to see more on that in the finale. "We'll be revisiting a lot of what we've set up in prior episodes so the relationship is put to the side for now."
Forrester's relationship with Kellett (Heida Reed) has had its ups and down in Season 1 and fans should not expect anything major on that front in the finale.
Casting someone of Aboutboul's caliber is rarely a one-shot deal. The spy is played by veteran actor Alon Aboutboul, who recently concluded a five-season commitment on FX's hit series Snowfall as the eccentric drug lord, Avi Drexler.
They get hurt along the way and they're trying to survive." "There's history in the sense of connected history. "They're on the run in Croatia and a lot of crazy things are happening around them—lots of action. He's a huge asset for him and his family so he's protecting him but gets involved in a major car accident," Kleintank tells Deadline on Friday.
While fans will see some familiar faces—including the return of Forrester's mom played by Elizabeth Mitchell—one adorable mug that won't be around this time is Tank, Forrester's loyal giant schnauzer who has mostly been MIA this season.
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"That's hard. It does in a lot of ways to where he ends up—he is very crestfallen," he said. I can't say too much on that or I'll give away.
Deadline has two exclusive photos of Kleintank as FBI Supervisory Special Agent Scott Forrester from the finale titled "Crestfallen" where he's lost in thought and injured.
EXCLUSIVE: CBS' FBI: International is gearing up for an explosive Season 1 finale on May 24, and series star Luke Kleintank is teasing what's ahead.
He added, "[Tank] was retired for a second but he's working his back. He's an old guy but he'll come out of retirement."” />
Is there a past connection? In the episode, Forrester collaborates with a Russian spy bringing the former bodily injury and his team confusion as to what's really going on. Why is Forrester working with the spy?
"Everyone loves him a lot. He's been in the industry for years. He's just a genuine person and a free spirit. "Absolutely," Kleintank teased when asked if Aboutboul will stick around beyond the finale. With our characters, you can expect a lot of intensity."
They love each other but they're kind of on this rocky road for the moment." He continued, "Their relationship is constantly evolving.
We're writing as much as we can for him. He's part of the Fly Team so he's not going anywhere." "Tank's always there, he's not going anywhere. A lot of times with animals, it can be a little hard. "Sometimes he pops in and helps us solve crimes. He's at the office busy doing paperwork," Kleintank shared with a laugh. He's really a sweetheart.
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‘Ted’: Alanna Ubach Joins Seth MacFarlane’s Peacock Series Based On Films

Peacock Pilots & Series Orders
In addition to MacFarlane, who is reprising the voice of the lovable foul-mouthed teddy bear Ted, Ubach joins series regulars Georgia Whigham, Max Burkholder and Scott Grimes.
Ubach will play Susan Bennett. Susan is kind, selfless and almost pathologically sweet when it comes to caring for her family, and sees the world through naive, rose-colored glasses.
MacFarlane, who will also direct, write, co-showrun and executive produce all episodes, is joined by Modern Family alums Paul Corrigan and Brad Walsh who will serve as co-showrunners, writers and executive producers.
Alana Kleiman and Jason Clark, who produced the film franchise, will also serve as executive producers. The series comes from MacFarlane’s Fuzzy Door and will be executive produced by the company’s President Erica Huggins. Series is produced by UCP, a division of Universal Studio Group, and MRC Television.
Universal Pictures and MRC Film’s Ted is the highest-grossing original R-rated comedy of all time (not a sequel or based on other IP). Collectively, Ted and Ted 2 grossed more than $750 million worldwide.
EXCLUSIVE: Alanna Ubach (Euphoria) has joined Seth MacFarlane's comedy Ted, rounding out the main cast for the Peacock series based on his popular film franchise.
Fall 2022 Primetime TV Grid: Here’s What On This Coming Season
Ubach is repped by Gersh and Margrit Polak Management.” /> She also has a lead voice in animated series Crossing Swords, as well as Monsters, Inc. Ubach can currently be seen on Season 2 of Max Levinson's Euphoria on HBO and opposite Kaley Cuoco on HBO's second season of The Flight Attendant. She also recently played Fox News' Jeannine Pirro in Jay Roach's Bombshell.

Naomi Ackie, Toni Collette And Mark Ruffalo Join Robert Pattinson In Bong Joon Ho’s Next Film At Warner Bros

He also has a role in Searchlight's Poor Things starring Emma Stone. Ruffalo was most recently seen in the Netflix hit The Adam Project opposite Ryan Reynolds and is also set to reprise his role as Bruce Banner in Marvel's She-Hulk: Attorney at Law.
The book was published in February by St. Whenever there’s a mission that’s too dangerous—even suicidal—the crew turns to Mickey. After six deaths, Mickey7 understands the terms of his deal…and why it was the only colonial position unfilled when he took it. Martin, a Macmillan imprint. After one iteration dies, a new body is regenerated with most of his memories intact. While the film will be inspired by the novel, sources say that given Bong’s past experiences with adaptations, his version might ultimately may be different from the novel’s. The novel’s story follows Mickey7, who is an Expendable: a disposable employee on a human expedition sent to colonize the ice world Niflheim.
The genre-defying film was honored with the Cannes Palme d’Or and culminated with its historic night at the 92nd Academy Awards, where it became the first non-English-language film to take home the Oscars for Best Picture, Director, and Original Screenplay, along with the International Feature Film award. Bong’s prior films also include Snowpiercer and The Host. The project is Bong’s first since his 2019 South Korean masterpiece Parasite swept the world to become a global cultural touchpoint and shattered box office records worldwide.
Towards the end of 2021, he was presented the manuscript for the unpublished book by Ashton, which immediately drew his interest. The Oscar winner became loosely attached to the project late last year and prior to the holiday break met with some of the town’s most promising stars as every A-lister in their 30s was chasing the role. It wasn’t long before Bong and execs were impressed with Pattinson following his meeting and felt he was perfect for the role, with an offer going out right before the new year. Following Parasite’s sweep of the Oscars including for Best Director and Best Picture, Bong has taken his time in figuring out his next steps.
The film reteams Bong and Choi with Brad Pitt’s Plan B following their successful collaboration on the director’s 2017 film Okja. Bong will write, direct and produce for his production company Offscreen, alongside Kate Street Picture Company’s Dooho Choi and Plan B’s Dede Gardner and Jeremy Kleiner, as part of the latter’s overall deal with Warner Bros.
On the film side, she co-starred with Bradley Cooper in Searchlight's Nightmare Alley. Collette was most recently earning raves for her role in the HBO Max limited series The Staircase.
Ruffalo is repped by Lighthouse Management & Media, UTA and Keith Klevan.” /> Ackie is repped by CAA, Hamilton Hodell, Range Media Partners and Peikoff Mahan Law Office. Collette is repped by CAA, Finley Management, United Management and Jackoway Law.
Ackie's star has been sky-rocketing following her breakout role in Star Wars: Rise of Skywalker. Following that major break, she was handpicked Clive Davis to star in the Whitney Houston biopic I Wanna Dance With Somebody, which is already drawing early buzz as an awards-season contender.
VP Production Peter Dodd serves as the lead executive for Warner Bros. The Warner Bros. Discovery following a limited series based on Parasite that is currently in the works at HBO, with Bong and Choi executive producing alongside Adam McKay and Kevin Messick. Pictures feature marks Bong’s second project with Warner Bros. Pictures.
EXCLUSIVE: Bong Joon Ho's follow-up film to his Oscar-winning Parasite is gaining quite the ensemble, as sources tell Deadline that Toni Collette and Mark Ruffalo (whose deals are in final negotiations), along with Naomi Ackie, are joining Robert Pattinson in Bong's next feature at Warner Bros. The untitled film is based on the novel Mickey7 by Edward Ashton.