An Oscar Night Prayer: Lord, Grant Us Health, Security And Lots Of Joaquin Phoenix

I’m not especially religious. But, as they say, there are no atheists in foxholes. So I’d like to offer a short prayer for the much-delayed, Covid-weary 93rd Oscar ceremony, set for a week from tonight.
Amen.” />
More particularly, we pray that the many nominees and hangers-on who are flying here from around the globe will have observed their 10-day quarantine in strictest isolation, with no thought of slipping out for a pedicure or cocktails on Sunset. We don’t want to spread any Movieland variants.
Dear Lord, whoever and wherever You may be,
These films are very dour. Let someone be funny (and not wholly consumed by the show's Covid-safe narrative).
Feel free to join, amend, or delete, as the spirit moves you:
We implore you, Dear Lord, let the show be brief. Can the Oscars survive a minute over three? One hour was too much for the SAG Awards.
Please, Lord, let the Derek Chauvin jury deliberate for a while. We’ll have enough drama without an Oscar-week verdict.
Let no one mention Georgia voting laws. Hold that fight for Monday morning, after we've dealt with the ratings.
We humbly beg that Sunday’s Oscar show may come off without a hitch, which would a first, but it can’t hurt to ask.
Let the authorities secure Union Station, whatever complications that may cause on surrounding streets, never mind the police over-time budget.
I could listen to him talk about baby cows and his own scoundrel behavior forever and ever. But please, Lord, in Your infinite wisdom and mercy, grant Joaquin Phoenix a waiver from any time limits.

‘Lord Of The Rings’ Online Role-Playing Game Canceled By Amazon

Stalled contract negotiations have led to the cancellation by Amazon of an online role-playing game based on the Lord of the Rings series.
Amazon is heavily invested in the Lord of the Rings. It is now producing a TV show based on the books and films franchise, and has reportedly invested $465 million in its first season. That follows the $250 million used to secure the rights.” />
An Amazon spokesperson confirmed that to Bloomberg. “We have been unable to secure terms to proceed with this title at this time.”
Amazon's video game division has nixed the game, according to Bloomberg. The game had been announced in 2019 and has been in development at Amazon Game Studios in partnership with China's Leyou Technologies Holdings, which was bought by Tencent Holdings in December.
“We love the Lord of the Rings IP, and are disappointed that we won’t be bringing this game to customers,” said the Amazon statement. The snafu marks the latest setback for Amazon's game division, which has struggled, Bloomberg reported. The Amazon team working on the game will be moved to other projects.
That purchase resulted in a dispute between Amazon and Tencent, Bloomberg said, leading to the cancellation of the game.

Akua Njeri On Watching Personal Black Panther Tragedy Unfold In Best Pic Nominated ‘Judas And The Black Messiah,’ & Why She Doesn’t Believe Turncoat William O’Neal’s Suicide

DEADLINE: William O’Neal was exposed as the FBI’s inside source who helped set up the killing of your fiancé Chairman Fred Hampton, and eventually killed himself. Why did you go to his wake?
It was also important that other groups and organizations that were very present in the ‘60s and were shown during this film were not disrespected. This was a powerful piece. As much truth as possible, based on facts. Also, how William O’Neal was portrayed. It was a great group effort, I think and myself and Chairman Fred Hampton Jr were very happy to be the only cultural experts and consultants on the film. NJERI: It was important that the politics of the Black Panther Party were not compromised. I think that was done in the movie and a lot of people were amazed at how well Dominique captured me and how well Daniel captured Chairman Fred.
We see you being thrown around like a rag doll as the father of your child is killed. What was the toughest thing about raising a child in such chaos, hardship and grief? Soon, you became a mother. DEADLINE: We watch you, incredibly pregnant, have to go through this ordeal.
Njeri and the son she gave birth to shortly after, Fred Hampton Jr, are the flame keepers of Chairman Fred's memory, and they placed their faith in King and co-producers Ryan Coogler and Charles King to relive Hampton's live as a revolutionary. Back on December 4, 1969, Akua Njeri was Deborah Johnson, a 19-year old who was more than eight months pregnant with the child of her fiance Fred Hampton, the Chairman of the Chicago Chapter of the Black Panther Party. Here, Njeri explains why it was important to the legacies of Hampton Sr, and the Black Panthers, even though it meant seeing that painful night reenacted. Through the Shaka King-directed Judas and the Black Messiah, the tragic events of that evening are detailed in a gory scene in which FBI and local law enforcement agents burst through the door where they and 10 others slept. The film is up for six Oscars: Best Picture, Best Original Screenplay and Best Song, Cinematography, and Best Supporting Actor for its leads Daniel Kaluuya (Fred Hampton) and LaKeith Stanfield (O'Neal). They tossed aside the heavily pregnant Johnson (played by Dominique Fishback), and then gunned down  Hampton (who'd been slipped a sedative by confidante/FBI informant William O'Neal) as part of the FBI Cointel program.
Shocking. How complex was it to have to relive that moment in your life, that betrayal by an FBI informant? DEADLINE: You lives through O’Neal's betrayal of your fiance. I didn’t realized he had committed suicide until it was dropped in there are the end. What was it like to see it dramatized?
People would say, ‘y’all are not that important. The police considered this slave catching, and it’s hard for people to accept that, when for your whole life it has been drummed into your head that you can pull yourself up by your bootstraps and everybody is equal and we can all sit around and sing Kumbaya. I remember during the days of the Black Panther Party, we would tell people that the government waged war on the Black community, and that the number one threat identified by the FBI director J Edgar Hoover to the US security, was the Black Panther Party. His file began when he started organizing for recreational facilities where Black children couldn’t even go to the swimming pool, out in Maywood. Which is not the reality. This was before he got involved in the Black Panther Party. The government recognized his organizing skills, even at a young age. NJERI: The home Chairman Fred grew up in, the Hampton House we are engaged in a campaign to make a museum, his parents’ phone was tapped when he was 13 or 14 years old. Even the idea of this policing was brought about by slave catchers. Why would the US government want to wipe out the Black Panther party?' Then, when the documentation came from the government itself, people said, ‘Oh, I didn’t know that.’ And as much as we talked about and exposed it in the Black Panther newspaper, of incidents happening all over the country in attacks on our offices, massive arrests and destruction of any kind of donations that we got regarding our programs for medical care, social programs, breakfasts, medical programs, free shoes and clothing, people still didn’t want to believe the government would do that.
What is the most gratifying thing that came out of trusting these filmmakers and seeing your story told in a major studio films like this? DEADLINE: We briefly see Fred Hampton Sr in The Trial of the Chicago 7, and so his memory is preserved in two Best Picture Oscar nominated films, and we got to know his organizational skills and ability to unite people.
I had big plans. Because it didn’t look like O’Neal. There was a story of how, in a cocaine-induced high, he was very paranoid that somebody was going to get him. I don’t know if he was given a new identity or what, but I never believed that was O’Neal. NJERI: I really went to show my disrespect for O’Neal’s collaboration with the State in the assassination, providing them with a diagram of our apartment where Chairman Fred slept. And he ran out in the Eisenhower Expressway and got hit by a car and was killed. But when I got up to the casket and viewed him, I was frozen. I repeated to a member of the Black Panther Party who came up beside me, I said, that’s not him, that’s not him. I was going to spit in O’Neal’s face, and turn the casket over, among other things I had planned.
DEADLINE: As the filmmakers shaped the characters and narrative, what were your biggest concerns they needed to get right?
But I am very well pleased with the end product.” /> And I hope that those nominated for the movie win all the awards they can, for the sake of their careers.
NJERI: The Black Panther Party, which is chaired by Fred Hampton Jr, our committee met and discussed it. He had met Ryan Coogler previously, at a flea market, and they had some discussion about everything but the movie because it wasn’t in the mix yet. It went to one or two in the morning, and I learned a lot from Daniel who he was. We had a meeting at the Hampton House, which we are trying to save as a museum. It really clicked well and we went for doing the movie. It wasn’t always smooth sailing. Chairman Fred Jr asked someone to tour the worst neighborhood in Chicago, and they did. I met Ryan and Daniel, Dominique, Shaka and everybody and we had a seven hour meeting. They went to an area in K-Town in Chicago. But for the most part, we were very pleased with the movie, with the outcome. We had a lot of debates, arguments, fights. They convinced us they were here to learn, and not to tell us who the Black Panther Party was, or who we were. As are many people. They had never been to Chicago that I knew, and went at 2AM and it just happened to be at a time when people were killed.
DEADLINE: It is hard for many to imagine that the targeted assassination of Fred Hampton in Judas and the Black Messiah could happen to an American citizen. What made you say yes to bringing that tragic night to the forefront?
And I said to him, 'you’re doing a damn great job, but I just can’t hug you. He was O’Neal, with his mannerisms, the things he did. I’m really proud of the movie and that I was able to be part of it. Because you are Bill.' But he brought it, he really brought it. It’s always difficult, because I just don’t talk about it or watch it, I relive it, at some point. It was just so damn powerful. I still, today, haven’t watched the movie all the way through. Those attacks continue today. NJERI: Before watching it onscreen, I watched LaKeith Stanfield in action. It’s bringing up a lot of emotions, but this movie is an opportunity for people to have real discussion about the government and its relationship and its attack on the Black Panther Party, and that legacy. I’ll get up and pretend I have to go to the bathroom, to get a break. I think all the actors did a magnificent job, in bringing that portrayal to audiences today, right now.
Billie Holliday, where, rather than try to stop the lynching of Black people, the FBI instead focused on tormenting Holliday to stop her from singing Strange Fruit. Why the law enforcement obsession on Fred Hampton? DEADLINE: You see the twisted obsessions of law enforcement in Judas and the Black Messiah and another awards contender film The United States Vs.
DEADLINE: You believe that, as opposed to the suicide theory?
It’s a lot of shaking up the old guard. Not only on the job, but they would come around and we would have discussions with them so they could become more familiar with the real story. NJERI: The whole crew, they were willing to listen and to learn, even the actors. And not just accept the words of politicians or quote unquote activists. There still is a lot of misinformation out there but I think the movie is so powerful it keeps the conversation going and it challenges people to question everything they see and read, to try and find some truth in what’s being projected. Even aside from that, it’s moving a lot of people to doing some kind of action. It has given people an option, to be able to speak with their own voices, in their own communities. Not necessarily old guard meaning old people; I’m talking about questioning young leaders who are popping up, salaried, and taking over the movement, and our ability to speak for ourselves. I think it’s created a great debate and a lot of discussion and conversation about what is going on.
And my being the mother of this baby, and our son being the child of two revolutionaries. The doctor reminded me, ‘No, Mother, you wanted a natural birth, which I went through and was glad I did. I would have those talks with him, whether or not he could respond, even as a baby. NJERI: I guess I told myself in my head I had a responsibility to take care of our son. I knew that I would have to combat a whole lot of misinformation and lies about the Black Panther Party and untruths. And it was very difficult through that process, down to the birth. I wanted to give him the best possible information he could have so he could better navigate the world, and his life, being who he was. I said to the doctor that I wanted natural childbirth, though my fear of seeing blood might kind of overwhelm me. As our child grew and developed, and even before he could talk or walk or even sit up, I would tell him about his father and the Black Panther Party, how it started, and everything I could get my hands on.

‘News Of The World’ Composer James Newton Howard On Crafting An Oscar-Nominated Score To “Tell A Story Of Healing And Redemption”

And we would hand over the scene completely to sound effects, which I think is a really smart way of doing it. HOWARD: For every film composer, that's always a calculation and a negotiation, if you will. I'm a firm believer that the thing that makes a film’s score particularly successful is when it's not episodic and you feel like it’s able to seamlessly tell the story from one scene to the next. I always feel like Tom Hanks' character in that moment sees the chief, and he just feels embarrassed almost to have been caught so ill-equipped with this girl in the middle of the desert, and then he sees that it's not going to be a hostile encounter but, in fact, they are being gifted a horse by these people who had everything taken away from them already. The ideal situation is when sound effects and music sort of, I don’t mean to get poetic about it, but really do a dance together. And in that situation, I knew the whole opening, where they’re dying of thirst, I could really be ridiculously spare and do almost something that sounded like a dried-up skeleton. I don't know that I did that, but that's certainly what I tried to do. And then of course, as the Kiowa nation people appear, it starts off in a very ambient, rather abstract way. The emotion of that scene does become overwhelming but it's a slow and careful transition from one situation to the next. Because sound effects are central to every movie. I just increased the orchestration as the dust storm came, and then Paul and I agreed that at a certain point in the dust storm the music would fade away. You know, it was just so harsh and minimal.
DEADLINE: What part of your work on the News of the World score are you the most proud of?
HOWARD: I feel that I did a good job of telling the same story that Paul wanted me to tell. I felt that music did that.” /> Paul wanted to tell a story of healing and redemption as these two characters try to fit in to a world that is completely destroyed.
How did you accomplish that musically? DEADLINE: While the broken consort becomes grander as the movie goes on, it seems like the consort gets a little bit more cohesive throughout, culminating in the ending credits theme, which is very grand.
How did you do that while battling with the raging sound of the dust storm? There was so much emotion that got evoked throughout that scene, in the score specifically. It’s very minimal, but then it grows at the end as it transitions into Johanna meeting the Kiowa tribe. DEADLINE: My favorite part of the score was during the dust storm.
And then there was a moment if you recall, where Kidd and the Johanna traveled to Dallas, which was the beginnings of a big bustling city that is complete with tons of activity and commerce and lots of people. Basically, the theme you hear was a theme to accompany them while they were on the road to Dallas. So, I wrote it up. And there was another scene where he decides to go back to Johanna at that wonderful moment of clarity after he's visited his late wife's grave. Not that there was much romance in this movie, but I was always looking for an opportunity to write a big Western theme as I was working on the movie, but there really wasn't a spot do that in the first act. And I thought, aha, here's my opportunity to write my first big scene. NEWTON HOWARD: Well, because my favorite genre or type of movie to do is a big, epic outdoor romance adventure. And then he comes to the correct understanding of what he has to do. He gets on his horse, he goes streaking across the New Mexico desert. And that really became like a road trip. It's a great moment and I wrote it fairly large thematic piece for that whole scene.
We put a group of those people in the middle of the room and then surrounded them with a traditional large orchestra, and I think what we ended up with was this fragile core with a very self-assured surrounding. These look somewhat like traditional string instruments, but there's a technique to play them that is quite different. You can feel them slowly drawing the bow across the strings, rather than digging in with a bow into the string. The way I approached it was I took the group of musicians who specialized in playing what we call ancient instruments that would include the cello d’amores, viola da gambas, and gut-string fiddles. I know that sounds a little bit technical, but it really gives you this wonderful droning, kind of journeying sound. And I think in this case, we executed it pretty effectively. NEWTON HOWARD: The broken consort was indeed a concept that Paul came up with.
Newton Howard, along with director Paul Greengrass and editor Billy Goldenberg, decided to start the score with the idea of a “broken consort” of musicians to represent the broken nature of the world and main characters. “This may be a big Western, with big characters and landscapes,” Newton Howard says, “but it’s a much more introspective movie.” The story follows Captain Kidd (Tom Hanks), who agrees to deliver a girl, Johanna (Helena Zengel), to her only living relatives, after she was taken by the Kiowa people. James Newton Howard is no stranger to the Western. Here, Newton Howard describes his approach to writing a score to track a healing journey. He composed the scores for Wyatt Earp and Hidalgo, but the music for News of the World required a different touch.
DEADLINE: Paul Greengrass wrote about the two of you and the editor, Billy Goldenberg, agreeing that the score should be as if “a consort of players broken by years of civil war and division and hatred had finally reformed.” How did you go about achieving that?

‘Fuller House’ Star John Stamos Talks About Olsen Twins Absence From The Reboot

The show, which updated the late '80s to mid-'90s sitcom, had most of the original cast back. But the twins opted not to reprise their joint role as Michelle Tanner in the follow-up
Stamos also said the finale of Fuller House was particularly emotional because the original show never had a "farewell" episode.
Ashley reportedly said, “I have not been in front of a camera since I was 17, and I don’t feel comfortable acting.” Producer Bob Boyett told People that producers were told before the Netflix update bowed in 2016 that the twins weren't comfortable.
“When we did the original series, we got canceled, and we knew like a week before, and we were just doing a regular last show. We never really did the final show. So, it was pretty emotional.”” />
John Stamos said he was "disappointed" that twins Mary-Kate and Ashley Olsen didn't make a cameo appearance in the Netflix series "Fuller House."
“I remember Lori [Loughlin] saying to me, ‘They won two or three CFDA [Fashion] Awards.’ That’s like winning two or three Oscars,” he said. “If you won three Oscars, would you come back and do this? I was like, ‘Eh, maybe not.’”
Cohen asked, “Were you surprised that the Olsens never made an appearance on the show, or you knew when they said ‘We’re not doing it’ that they weren’t doing it?”
“Mary-Kate said, ‘It would have to be me because Ash doesn’t want to do it. But the timing is so bad for us,’” Boyett said.
Stamos, who played Jesse Katsopolis on the show, made his remarks on Andy Cohen's Watch What Happens Live. The show was done remotely with Stamos.
Stamos allowed that the cast was “disappointed, but we understood.
The Olsens, who have built a large career as entrepreneurs, have rarely appeared in front of a camera.

SAG-AFTRA Board Approves Diversity Action Plan & More Dues Relief During Pandemic

The board also approved the the fiscal year 2022 budget, and a Finance/Executive Committee recommendation to extend the dues relief program for the upcoming May dues period. In their finance report, national secretary-treasurer Camryn Manheim and chief financial officer Arianna Ozzanto said that the fiscal year 2021 actuals have performed better than planned, and confirmed that the union’s application for a government PPP loan had been recently approved and funded.
He also highlighted several upcoming innovations the union is planning, including the launch of a dedicated Producer’s Portal, which will make it easier to hire SAG-AFTRA members, and provided updates on recent initiatives like the online enrollment tool, digital claims tracker, and online cast clearance portal. He also spoke about the addition of the Micro-Budget and Influencer agreement application process to the SAG-AFTRA website, and detailed the success of SAG-AFTRA’s Labor, Innovation & Technology Summit, which took place in February.
The plan also establishes diversity committees serving the Middle Eastern and North African (MENA) and Latino communities; directs the creation and distribution of an inclusive practices guide for broadcast journalists; strengthens partnerships with organizations conducting diversity and inclusion research, and recommends campaigns to promote the union’s Low Budget contracts and their diversity incentives. profiles.
In the wake of last week's Stop the Hate summit, SAG-AFTRA’s national board has approved a Diversity Action Plan that includes provisions for implicit bias training for its national and local board members.
The board, meeting virtually on Saturday, also adopted a new membership rule – Rule 7 – that explicitly prohibits harassment and abuse, including sexual harassment, intimidation, and retaliation for the filing of complaints, and makes violations subject to disciplinary action.
The board also approved several local constitutional amendments, and established a puppeteers committee and podcast committee.” /> Damon and Crabtree-Ireland also reported on the upcoming SAG-AFTRA Convention and on recommendations relating to a number of governance matters: in addition to the new Rule 7, the national board approved the submission of a proposed constitutional amendment to extend the statute of limitations on member disciplinary charges relating to sexual harassment, abuse, and assault – from six months to ten years.
Rebecca Damon, the union’s executive vice president Rebecca Damon, who is also chair of the Innovation and New Technology Committee, reported on February’s 2021 Labor Innovation & Technology summit, co-sponsored by SAG-AFTRA and the AFL-CIO, that explored the impact of technology on the guild’s members.
He also announced the approval of the advertising industry’s Safety Protocols Agreement, which will codifies existing safety protocols for commercials producers.
In his report to the board, White gave an update on projects to prevent sexual harassment, including the development of the sexual harassment reporting app and the next phase of the union's intimacy coordinators project. Thanking Carteris and the union's Government Affairs and Public Policy team for their legislative advocacy, White noted several successful initiatives, including the CARES Act, American Rescue Plan, tax reforms and incentives, and digital image rights.
That agreement, which expires on April 30, is expected to take up the issue of whether or not casts and crews will have to be vaccinated in order to report for work. Duncan Crabtree-Ireland, the union’s chief operating officer & general counsel, reported on the upcoming re-negotiation of the Return to Work Agreement with management’s AMPTP and other industry unions.

SAG-AFTRA Panel Explores Efforts To Combat Hate Against Asian Americans

“But collective action aggregating the power of our individual members makes achieving real change truly possible." "Taking action to stop the hate starts with each of us," said David White, the union’s national executive director.
White also provided an update of the union’s operations, gains in member services, member education and engagement, and reported on how the union has maintained core functions during the pandemic, and the resilience of members and staff over the past year.

Casting Professionals Banned From Holding SAG-AFTRA Office

“Stop The Hate week has been all about taking action to support and protect our members from diverse communities, many of whom are under direct threat and facing violent attacks,” said SAG-AFTRA president Gabrielle Carteris. “The action plan approved by our national board advances concrete actions to stem the tide of hate.”
The national board also authorized a fourth-month extension of the National Code of Fair Practice for Network Television Broadcasting contract, and approved a number of proposals for bargaining.
Now deemed to be “management” personnel, casting professionals will also be barred from serving as members of SAG-AFTRA negotiating committees, and as delegates to the union’s biennial conventions. As reported here last night, the board also approved a resolution that was passed overwhelmingly at the union's 2019 Convention that bans casting professionals who are also actors from running for elected office at SAG-AFTRA.
He also highlighted the FAIR Act (Free Artists from Industry Restrictions), a California bill that would prohibit the use of unfair and outdated contract provisions that hold actors and recording artists off the market and unable to work for unreasonably long periods of time.

With Hollywood’s Return-To-Work Agreement Up For Renegotiation, Vaccinations Could Be On The Table

In her President’s Report, Carteris gave an update on the union’s ongoing legislative work; its continued efforts to combat sexual harassment; and its diversity and inclusion efforts, including a report on the union’s stunt diversity task force. She also noted that she and White will appear with Stacey Abrams, founder of Fair Fight Action, to discuss voting rights in a virtual conversation on April 21.

‘Godzilla Vs Kong’ Nears $400M Worldwide; ‘Detective Conan: The Scarlet Bullet’ Wins Weekend Round – International Box Office

In China, the Adam Wingard-directed GVK has become the highest grossing pic of the Monsterverse. In like-for-like overseas plays and at today’s exchange rates, GVK continues to track ahead of Kong: Skull Island (+7%), Godzilla: King Of The Monsters (+45%) and Godzilla (+96%). The cume there is now estimated at $177.1M through Sunday. In IMAX, GVK has hit $35M worldwide with China at $22M.
2, followed by No. 2 behind the start of Chernobyl. Thailand held No. Australia, as well as a number of smaller markets, will release next weekend. Russia led play again, adding $1.9M and landing No. After its debut last session, the international box office cume is now $19.2M. 1 in the sophomore session and has grossed $862K to date. Elsewhere, WB/New Line’s Mortal Kombat was game for $5.7M from 6,128 screens in 28 offshore markets. Mexico debuted this session with $725K at No. 1 starts in Indonesia ($666K) and Spain ($578K). It’s still tracking ahead of GVK and has a $9.6M cume so far.

The last was Detective Conan: The Fist Of Blue Sapphire which grossed nearly $90M in the home market. Directed by Tomoka Nagaoka, the latest story of the boy detective was originally due to be released in April 2020, but was delayed by the pandemic. Up to 2020, a new Detective Conan movie had been released every year.
The gross there is now $13.5M, with good word of mouth and midweek business amid holidays. Meanwhile, Sony’s Peter Rabbit 2: The Runaway keeps hopping along in Australia, regaining the No. The full weekend, which reflects early release versus the rest of the world, was $2.4M for an offshore cume of $14.7M. 1 spot in its 4th session with $2.2M.
Promising Young Woman (UNI): $343K intl weekend (15 UPI markets); $1.5M intl cume/$7.8M global
The Japan IMAX opening on The Scarlet Bullet was $1.2M from 38 screens for a $32K per-screen average. This is the 3rd best debut for IMAX in the market during the pandemic era and the 4th best for a local title ever. This despite emergency measures enacted in some areas last weekend owing to Covid, and Osaka seeing spikes in the past several days. It is further the 8th biggest IMAX debut of all time in the market, overtaking Rogue One and The Force Awakens. Following the recent success of Demon Slayer The Movie: Mugen Train (which releases in North America next Friday), Japan has been on a hot streak of late, notably with IMAX screens.
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This is the biggest Taiwanese film released during the pandemic. The local cume is $8.6M on the Sony-distributed title. In notable local performances, Taiwan romantic drama Man In Love, a remake of the 2014 Korean film, has held the top spot for three weeks in a row in the market.
Refresh for latest…: Warner Bros/Legendary’s Godzilla Vs Kong is approaching the $400M global mark, as it topped $300M at the international box office this weekend. After overtaking Tenet as the No. 1 grossing movie of the pandemic era domestically last weekend, GVK has also now surpassed that film to boast the same honors for a Hollywood title internationally and globally. Adding $12.2M from 41 overseas markets (a good -49% hold), the monsters have cumed an estimated $309.7M offshore for $390.2M worldwide through Sunday.
Nobody (UNI): $1.38M intl weekend (13 markets); $15.5M intl cume/$34.5M global
While it has dominated global play over the past few weeks, GVK this session ceded the top spot to Toho’s Detective Conan: The Scarlet Bullet. 1 in China with an estimated RMB 109.6M ($16.8M). Numbers for Japan will be updated on Monday, but in the meantime, The Scarlet Bullet was No. The 24th movie in the long-running anime franchise bowed in Japan and China as well as a handful of other markets, and our sources are estimating a $35M-$38M opening weekend. The film is carrying an 8.6 on Maoyan, but a lower 6.1 from reviews site Douban.
Tom & Jerry (WB): $2.3M intl weekend; $62.8M intl cume/$105.4M global

Oscar-Nominated Costume Designer Alexandra Byrne On ‘Emma’: It’s About “Individuality And Spontaneity And The Character”

“The combination of the fashion plate and looking at the original garments lets you understand them as clothes rather than costumes.” Based on the Jane Austen novel of the same name, and starring Anya Taylor-Joy in the eponymous role, Emma follows Emma Woodhouse, a young woman who spends her time meddling in the romantic lives of those around her. “The reason I like this period is that it’s the beginning of fashion plates being published for women,” Byrne says. Here, Byrne digs into her fresh, personality-focused approach to a well-loved period story. In preparation for Autumn de Wilde’s Emma, costume designer Alexandra Byrne spent her time researching her favorite time period for clothing.
DEADLINE: Looking back at that, what do you think is the biggest thing you've learned since then that really helped your work on Emma?
DEADLINE: How did you get involved with Emma?
So, it's a very different research process. Whereas now we work at completely the other end of that scale, where through the Internet, we're inundated with images, a lot of which are inaccurate. So, it reminded me when I was doing Emma, that sometimes you just have to trust your instinct and not overwork things. But actually, what I found interesting was when I was working with Persuasion, it was my first film and I was working with the energy and confidence of total naivete of not knowing what I was doing. BYRNE: Some, but actually it was more of a personal kind of inspiration. I was very aware that when I worked on Persuasion, it was pre-Internet, and I remembered how hard it was to find the research and to find image reference.
DEADLINE: One of my favorite costumes in the movie is definitely a Bill Nighy robe that seems to almost blend into the chair.
I think that side of it has become inherent and a process and a way of working in an understanding of fabric. And sometimes it's good to just realize that you do know what you're doing. It's only when you revisit things that you realize how much you’ve learned and how much experience you’ve accrued on the way. So I'm more experienced and I have a wider range of storytelling. You don't have a career ladder that you measure where you've got to. I think for everybody who freelances it’s quite the interesting thing about the job is that there is no career structure. BYRNE: I suppose I see the job of a costume designer is to help the director tell the story they want to tell. Most of the time, I suddenly go into a project thinking, How is this going to work?
Researching that, I spent a lot of time at the V&A [museum in London] looking through their archives and their original pieces. And I found this dressing robe that I'd never seen before that had the built-in waistcoat and the robe all made in the same fabric. I think it was, it was a very individual and inspired period for clothes.” /> BYRNE: So that actually was a really interesting thing because the inspiration from that did come from Persuasion. So there goes the answer to your first question about what I learned from Persuasion that carries through to Emma, but the reason I like this period is that it is the beginning of fashion plates being published for women. And that was really the beginning of the images playing a crucial part in securing the definition of fashion as a kind of cosmopolitan phenomenon, but then to dovetail with that in terms of research, there are a lot of garments that still exist in the museum. I got the feeling that you could show a fashion plate to 10 different households in that period. So, the combination of the fashion plate to looking at the original garments, to understand them as clothes, rather than costumes, it’s a bit like somebody in 200 years’ time looking at copies of Vogue and thinking that's how we all live. You begin to understand the individuality and spontaneity and the character, and that there are no sewing machines, everything is handmade, fabrics are much lighter weight than we imagined. And I mean, just understand the spirit. And, and you'd get 10 very, very different looks because the end garment is a combination of the sewing skills or somebody's taste and their finances as to what they would actually make. And I just thought it was such an amazing garment that I wanted to reuse that idea in this film.
How much inspiration do you think you took from that into Emma? DEADLINE: You mentioned your past work on a different Jane Eyre movie, Persuasion.
I really like her writing and Autumn had a very particular view, or way she wanted to tell the story for Emma. We had lunch and she told me she was doing this film and she told me her ideas and it started there. It's a very exciting pitch. And it was very clear from my first meeting that she loves clothes, she loves color, she loves fabric. What attracted me to the film was my very first film that I designed was a Jane Austen. And I worked very hard on research and in order to start the process and I just thought that it would be great to work with them. So that's obviously very attractive and she wants to know all about the period. ALEXANDRA BYRNE: I met Autumn [de Wilde] when I was in L.A., I think at the tail end of publicity for Mary Queen of Scots.

Dr. Drew’s Nomination For L.A. Homeless Services Commission Draws Outrage

He has claimed that the primary drivers of L.A. County's homeless crisis is rooted in the lack of services for the treatment of mental illness and drug addiction, not in the lack of housing. Pinsky, age 62, has expressed surprise that his nomination has proved so controversial, given his longtime work in the mental health and addiction fields.
His nomination by Los Angeles County Supervisor Kathryn Barger has drawn outage and incredulity, since Pinsky, a television celebrity and addiction medication specialist, has been outspoken in his belief that California has mishandled the homelessness crisis. Some homeless advocates went so far as to believe the all-too-real nomination was a joke.
His appointment is scheduled to be discussed at a Tuesday meeting of the Board of Supervisors. The commission that would have Pinsky has authority on budgets, funding, planning and programming policy for the homeless.
He once termed Covid-19 a "press-induced panic" before backing down and apologizing. Pinsky is no stranger to controversy, even beyond his television appearances.
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"Something is dreadfully wrong and people are dying," said Pinsky, who lives in Pasadena. That doesn’t mean that’s all that’s out there." "That's my biggest concern, and when I go out and talk to homeless people, I encounter my patients, almost exclusively.
He added, "I don’t think most people in the public understand what is really needed and the depths of services that are required" to solve homelessness, he said.
"Even on a surface level, why are you (appointing) a celebrity doctor — and I use the term 'doctor' loosely — that has recent activity with being a COVID denier?"
Opponents countered that he would promote harmful views. Barger said Pinsky would bring a "fresh perspective" to the commission.
Mark Horvath, founder of nonprofit Invisible People, questioned the nomination.
Dr. Drew Pinsky has been nominated for a spot on the Los Angeles Homeless Services Authority, a commission of city and county elected officials.

Alma Wahlberg Dies: Mother To Mark And Donnie Wahlberg Was 78

No information on survivors or a memorial was immediately available.
Wahlberg in 1965. They had nine children and she also worked as a bank clerk and nurse’s aide. Alma Wahlberg grew up in the Dorchester area of Boston and married Donald E. Alma and Donald divorced in 1982, and Donald died in 2008.
“I love you, miss you, thank you and will celebrate you, today and always.” “It’s time to rest peacefully, mom,” Donnie, 51, wrote in a long post alongside a video obituary.
She was 78 and her death was confirmed Sunday on social media by her sons, although her date of death was not clarified. Alma Wahlberg, mother to actors Mark and Donnie Wahlberg and a regular on the A&E reality series Wahlburgers, has died from an undisclosed illness.
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She became a public figure as a regular on the family's reality show, Wahlburgers, which ran for 10 seasons from 2014 to 2019. Alma was a greeter and hostess at her sons’ restaurants, including Paul’s Alma Nove, which was named after her. She was featured in 27 episodes of the show, which focused on the family's restaurant business.
Rest in peace,” Mark, 49, wrote on Instagram with a photo of his mother in healthier times. “My angel.

Charles “Chuck” Geschke Dies: Co-Founder of Adobe Inc., Which Developed The PDF, Was 81

Survivors include wife Nan Geschke. No memorial plans have been announced.” />
“This is a huge loss for the entire Adobe community and the technology industry, for whom he has been a guide and hero for decades,” Adobe CEO Shantanu Narayen wrote in an email to the company’s employees.
His death was confirmed by the company but no cause was given. developed the ubiquitous Portable Document Format technology, or PDFs, died Friday at age 81 in Los Altos, Calif. Charles “Chuck” Geschke, whose software company Adobe Inc.
That's where he met Warnock, and in 1982, they founded Adobe, developing software together. After earning a doctorate from Carnegie Mellon University, Geschke began working at Xerox Palo Alto Research Center.
In a strange footnote to his life, Geschke survived a 1992 kidnapping, according to a San Jose Mercury News report.
“As co-founders of Adobe, Chuck and John Warnock developed groundbreaking software that has revolutionized how people create and communicate,” Narayen said. Chuck instilled a relentless drive for innovation in the company, resulting in some of the most transformative software inventions, including the ubiquitous PDF, Acrobat, Illustrator, Premiere Pro and Photoshop.” “Their first product was Adobe PostScript, an innovative technology that provided a radical new way to print text and images on paper and sparked the desktop publishing revolution.
In 2009, President Barack Obama awarded Geschke and Warnock the National Medal of Technology.
Eventually, a suspect was nabbed with $650,000 in ransom money and led police to the hideout where Geschke was held. Two men seized Geschke, then 52, at gunpoint when he arrived at work one morning, and took him to Hollister, Calif., where he was held for four days.

UPDATE: Time’s Up Joins Actors’ Equity Calls On Broadway Producer Scott Rudin To Release Employees From NDAs″ />
We hope that Scott Rudin will also release his staff from any nondisclosure agreements they may have signed as a condition of employment. “We salute the courage of those who came forward.
The Equity statement was issued shortly after Rudin announced today that he would relinquish "active participation" in his Broadway productions to "others from the Broadway community and in a number of cases, from the roster of participants already in place on those shows."
Doing so is critical to truly creating workplaces where every employee feels safe and respected across all industries.” That’s why Time's Up demands Scott Rudin release his former staff from any nondisclosure agreements. We still don’t know the full extent of what occurred. “No one should have to endure the kind of abhorrent mistreatment that has been reported and live under fear of retaliation.
Some members of Equity have been calling upon the union to place Rudin on the "Do Not Work" list, and have spread word on Instagram of a March on Broadway this Wednesday to protest Rudin as well as social justice issues related to the Broadway industry.
EARLIER: Actors' Equity Association is calling on producer Scott Rudin, who "stepped back" from his Broadway productions today in response to allegations of workplace abuse, to release employees from nondisclosure agreements.
For far too long, this abusive behavior has been a stepping stone to success in Hollywood and on Broadway — but those days are over. “First and foremost, we owe a debt of gratitude to the brave employees who came forward with allegations of workplace bullying and harassment against Scott Rudin.
Earlier this week, Equity, along with SAG-AFTRA and American Federation of Musicians Local 802, issued a joint statement condemning harassment, bullying and toxic environments and pledging "to hold accountable those who violate human and legal norms of fair, respectful and dignified conduct in the workplace." The statement did not specifically name Rudin.
It is not the end of our work to ensure a workplace safe for everyone in the industry as we work toward reopening.” "This is an important step in creating truly safe and harassment-free theatrical workplaces on Broadway and beyond.
UPDATE: Tina Schen, president and CEO of the Time's Up Foundation, added her voice today to those calling for producer Scott Rudin to release employees from prior non-disclosure agreements.
“Since news reports emerged about Scott Rudin, we have had many private conversations with our sibling unions and the Broadway League," said Equity President Kate Shindle and Executive Director Mary McColl. "We have heard from hundreds of members that these allegations are inexcusable, and everyone deserves a safe workplace whether they are a union member or not.

‘Godzilla Vs. Kong’ Leading Quiet Weekend At The B.O. As Town Grapples With Arclight & Cinerama Dome Closures

Sony's third Friday of The Unholy did an estimated $590K, -16% from a week ago, on 2,057 theaters (+207) for an estimated 3-day in third place of $2.1M, -13%, and a running total of $9.6M.
Looking ahead to the social media buzz on Mortal Kombat next weekend, as we first told you, the red-band trailer scored a massive 116M views, the second-best for a trailer drop of that type after Warner Bros.' James Gunn R-rated The Suicide Squad. RelishMix is spotting a lot of heat here on this videogame feature adaptation reboot.
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Activity on the meter is strong for fresh materials, given a shortened runway of six weeks. The film has an added advantage of the momentum of Warners releases in the social quadrangulated cross-promotion across Warner Pictures 54.7M, HBO Max 2.5M, Warner Games 1.1M and New Line Cinema social at 355K feeding the movie’s social network at 328K," reports the analytics corp. "Intermixed with trailers and clips from previous Mortal Kombat movies, TV series, game play materials, plus picture-in-picture posting over more than 10 years — and views for the top ten videos at 452M on top of the social media universe specific to this film at 141.2M, the general awareness for the brand is exceptional.
generated over $905M, and that local chain fueled 11% of that number. Conversations with sources this past week believe these theaters will come back, it's just a matter of who, when and whether it's Decurion in some shape or form in the end as a minority partner. In 2019, L.A. It's where an indie film from a budding filmmaker can debut, and ultimately crossover and shine and make a long-term career of it. Seriously, studios can't live without that money, plus the Hollywood Arclight and Cinerama Dome are launch-point theaters. Also, this week's news of Arclight/Pacific Theaters shuttering is a huge dent to the L.A. theatrical marketplace.
25 and is clocking north of 206K views on YouTube. In regards to notable materials on social, RelishMix applauds the fan reaction trailer which dropped on Feb.
He counts 2.2M fans across Facebook, Instagram and Twitter. In regards to the social media star in the cast, that's Joe Taslim who plays Bi-Han/Sub-zero in the film.
Kong is still in charge with $2.075M on Friday, -47% from a week ago, at 3,001 theaters and a current running total of $74.9M. SATURDAY AM UPDATE:  With no new wide releases, and New Line's Mortal Kombat pushed to next weekend, Warner Bros./Legendary's Godzilla vs. The three-day is expected to be $7.1M, -49%, with a new domestic take EOD Sunday near $80M.
Even though Godzilla vs. Really, Cuomo, that's gotta stop. I mean, New York City is still at 25% capacity. to wake up. Kong lit the domestic box office on fire over Easter weekend, we're still in a holding pattern here, waiting for the domestic B.O.
In regards to Netflix, despite their purchases of the Paris and American Cinematheque, they have no yearnings to own a greater theater and stray beyond their wheelhouse of streaming. Everything out there is pure speculation and not solid, as Arclight/Pacific/Decurion has gone radio silent in their lease negotiations. But all of this is a gut check to the motion picture industry: If you want to truly mess around with theatrical windows and do audacious things like play day-and-date on streaming, this is what happens. Movie theaters close down, especially as they try to resuscitate themselves after a year of lockdown. In regards to those kicking the tires, I can tell you it's not Alamo (which is contending with bankruptcy), AMC, or Netflix.
Disney's Raya and the Last Dragon at 1,945 theaters in weekend 7 did $471K yesterday, -18%, for an anticipated 3-day of $1.69M, -23%, for a total of $37.4M.
Warner Bros. Tom & Jerry looks to rank 5th for the weekend with around $1 million, -17%, and a cume of $42.5M.
Kong is a good lead-up to Mortal Combat, plus positive chatter about the Snyder cut of Justice League in the HBO Max ecosystem too." In regards to chatter, RelishMix adds, "Super fan expectations are high and they're calling out references to characters and other incarnations of the franchise — and how Godzilla vs.
is Universal's R-rated Bob Odenkirk action movie Nobody, with a fourth Friday of $720K, -3%, on its way to a great 3-day hold, -2%, with $2.6M and a total by tomorrow of $19.1M. In second place this weekend at the B.O.
Fan chatter debates whose team they are on, from Godzilla and flipping over to Kong and back — plus, in ripped videos from the film, fans debate the fight scenes as proof of who truly rules the world." In regards to GvK, RelishMix updates that on social media, "The main studio owned trailer of the two videos posted on Youtube for the film has hit 86M views and up 10.5M since opening on March 31st, and has a continuously strong viral reposting rate of 48:1.
GvK will be on HBO Max for another two weeks, and then it's exclusive to movie theaters for another month. As we mentioned previously, the fourthquel is on PVOD in Canada, given the numbers of cinemas which are closed there.

Scott Rudin To “Step Back” From Broadway Productions In Response To Abusive Behavior Allegations

Rudin's workplace behavior and ill treatment of assistants dating back decades was recently brought to the fore in a Hollywood Reporter article, in which four former employees spoke of intimidation, bullying and, in at least one instance, physical violence during their times in the Rudin office.
My roles will be filled by others from the Broadway community and in a number of cases, from the roster of participants already in place on those shows. “After a period of reflection," he continued, "I’ve made the decision to step back from active participation on our Broadway productions, effective immediately.
I do not want any controversy associated with me to interrupt Broadway’s well deserved return, or specifically, the return of the 1500 people working on these shows.” “My passionate hope and expectation is that Broadway will reopen successfully very soon, and that the many talented artists associated with it will once again begin to thrive and share their artistry with the world.
In his first public statement to the press – despite repeated requests this week from Deadline and other publications – Rudin said in today's three-paragraph email, “Much has been written about my history of troubling interactions with colleagues, and I am profoundly sorry for the pain my behavior caused to individuals, directly and indirectly.”
The shows, as with all Broadway productions, are currently suspended due to the Covid pandemic shutdown. Rudin's statement did not indicate that he would officially resign or cease participation in his productions altogether.
I do not want any controversy associated with me to interrupt Broadway’s well deserved return, or specifically, the return of the 1500 people working on these shows."” /> My passionate hope and expectation is that Broadway will reopen successfully very soon, and that the many talented artists associated with it will once again begin to thrive and share their artistry with the world.
Deadline has obtained the statement, initially released exclusively to The Washington Post. Read it in full below.
star Karen Olivo announced in a widely viewed Instagram video that she would not return to that production (which is not produced by Rudin) when Broadway reopens as a way of protesting the industry's silence over Rudin's behavior and other longtime injustices. Rudin's response follows what might now be viewed as the turning point in the Broadway community's refusal to tolerate or stay silent on the mistreatment of employees by producers and other industry leaders: Earlier this week, as Deadline reported, Moulin Rouge!
The announcement of the march has been shared on Instagram and other social media, though it's unclear as of yet what impact Rudin's statement will have on the plans. And this coming week, a grassroots "March on Broadway" protest is planned for Wednesday, April 21, beginning at Columbus Circle, then making stops at the Winter Garden Theater, home of the $17 million Music Man production, Actors' Equity offices, and Rudin's office.
In a statement released this morning, Rudin said he was "profoundly sorry for the pain my behavior caused to individuals, directly and indirectly,” and that he would "step back from active participation on our Broadway productions, effective immediately."
"After a period of reflection, I’ve made the decision to step back from active par-ticipation on our Broadway productions, effective immediately. My roles will be filled by others from the Broadway community and in a number of cases, from the roster of participants already in place on those shows.
Also this week, three theatrical unions – SAG-AFTRA, Actors’ Equity Association and American Federation of Musicians Local 802 – issued a statement condemning harassment, bullying and toxic environments and pledging "to hold accountable those who violate human and legal norms of fair, respectful and dignified conduct in the workplace." The statement did not specifically name Rudin, but the timing of its release left no doubt.
Here is Rudin's statement in full:
Among Rudin's current Broadway productions are Aaron Sorkin's hit adaptation of To Kill A Mockingbird, Ivo van Hove’s reimagining of West Side Story, the long-running The Book of Mormon and the upcoming The Music Man starring Hugh Jackman and Sutton Foster.
Producer Scott Rudin will "step back" from active involvement in his Broadway shows in response to allegations of abusive and bullying treatment of employees stretching back for years, Deadline has confirmed.
I am now taking steps that I should have taken years ago to ad-dress this behavior. Much has been written about my history of troubling interactions with colleagues, and I am profoundly sorry for the pain my behavior caused to individuals, directly and indirectly.
Rudin's announcement did not address his film production work, including next month's Netflix premiere of The Woman in the Window starring Amy Adams.

Nick Springer Dies: Gold Medal-Winning Paralympic Athlete And Team USA Member Was 35

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His mother, Nancy Springer predeceased him. Survivors include father Gary and partner, Elizabeth, sister Oliva and husband Kevin, and one-year-old nephew, Jackson, in addition to many aunts, uncles, cousins and friends.
After contracting Meningococcal Meningitis at age 14, Springer had both legs amputated above the knees and both arms to mid-forearm.
He traveled the US and internationally, speaking to health officials, education organizations, and others about the need for meningitis vaccination, as well as his journey of survival and just plain living and enjoying life. Springer graduated in May, 2010 from Eckerd College in St. Petersburg, FL and had spent the last few years consulting with Novartis, as well as the international pharmaceutical company GSK.
At the 2012 London Paralympics, Nick and Team USA took the bronze after falling to arch-rival Canada by one point in the semi-final game.
Donations in Nick Springer's honor can be sent to the Wheelchair Sports Federation.
He was also a spokesperson for the National Meningitis Association (of which his mother was a co-founder) and Honorary Chairman of the NMA’s annual gala, “Give Kids A Shot.”
Nick Springer, a Paralympics medalist for Team USA and son of entertainment publicist Gary Springer, died at age 35 on Wednesday, April 14. No cause of death was given, but his demise was described as "sudden."
A gifted public speaker, Springer used humor, charm and his personal stories to persuade audiences about the power of sports in disabilities. He was also a champion for vaccinations against Meningococcal Meningitis, becoming instrumental in passing legislation to support vaccinations against the virus.
Undaunted, Springer began playing sled hockey before he was fully finished with rehab, and at age 16, segued into Quadriplegic Wheelchair Rugby (“Murderball’) which, as a leading member of Team USA, brought him five international gold medals, including at the 2008 Beijing Olympics.

The Long Road To Oscar: The Journey Of Each Best Picture Nominee

That music included such kitschy throwback anthems as Paris Hilton’s “Love is Blind”, Britney Spears’ “Toxic” and “Angel of the Morning” by Juice Newton.
Promising Young Woman
Few Best Picture nominees have had a longer road than The Trial of the Chicago 7. But, perhaps surprisingly, Aaron Sorkin credits Donald Trump for breaking the film’s 14-year log-jam.
“He had to continue to do this or else he faced dire consequences.” “He felt he didn’t have a choice,” Stanfield says.
But first, Fennell crafted her script alongside a mental soundtrack. Key to getting the film made was both casting Carey Mulligan in the lead role of Cassie, and the early backing Fennell found in Margot Robbie and Josey McNamara’s production company LuckyChap.
The idea for Minari initially came to Chung in 2013, when his daughter was born and his family moved to Los Angeles. He found he had the desire to tell a more personal story about what it was like to be a father, but it wasn’t until 2018 that he started to put this down on paper.
“The amount of several-hundred-dollar books that I bought,” King recalls, “just because this history isn’t widely covered. It’s intentionally kept from us.” The story of William O’Neal, an African American career criminal blackmailed by the FBI in 1969 into infiltrating the court of charismatic Black Panther Chairman Fred Hampton, is not well documented, and bringing it to the screen came at a great price to director Shaka King—literally. It took a lot of hunting through out-of-print books to piece together a story that is still riddled with question marks.
“He would have rallies, there would be a protester or two, and Trump would get nostalgic about the old days, when we would carry that guy out on a stretcher. That is what made Steven [Spielberg] say, ‘The time to make this movie is now.’”
After so much struggle, says Marder, the six Oscar nominations for his film feel like "the greatest gift." The team he eventually assembled, he says, deepen his connection to a dream he'd held for so many years. "After going through this process that I’ve been through on this movie, and feeling it, living it, and dealing with all the hurt it put me through along the way, these guys are the people that put their faith in me—real faith—and put their everything into this movie without any proof of concept. They really walked the walk, and that was amazing to me." —Joe Utichi The film arrived for its world premiere at the Toronto Film Festival in 2019 without a distributor, but before the festival was over Amazon Studios prevailed in a fierce bidding war, setting the film on its final course toward Oscar night. To see these guys recognized, it just fills my heart.
“I think he really left a lot of space for us to imbue our own things,” Yeun says of playing the lead role of Jacob. “I appreciated that Isaac didn’t really express to me his worry about it. If anything, he really always supported me through my fears about approaching a character I think a lot of Asian Americans and specifically Korean Americans have an idea of what is on their minds.”
Mulligan also found herself instantly drawn. That’s what I want to do.’” “And I couldn’t describe what it was… What have you not done that you want to do?” she says. “For ages before this film came along, people were like, ‘What part do you want? When this came along I was like, ‘Oh, it’s that.
“It was all over LA, it was wherever we could beg, borrow and steal places,” she says. “Thank God that it was such a kick-bollock-scramble and we had such a short shooting time, because I think if we’d had any longer I’d have been forced to think about the enormity of it and how terrified I was.” —Antonia Blyth On a small budget, a heavily-pregnant Fennell decamped from her native London to LA for a lightning-fast 23-day shoot.
“I’m still not interested in a posthumous credit arbitration,” he says. Of course, it’s no small wonder that Netflix hopped aboard; after all, they’ve gone out of their way to silence doubters by backing strong work from top flight directors in the past, greenlighting projects traditional studios have considered too risky to back. “I’m still not interested in the idea of the villainous position of [Orson] Welles.” It had been a passion project for Jack Fincher, who died in 2003, and yet the younger Fincher admits that what drew him to the tale was not the debate about the authorship of Citizen Kane which lies at the heart of the film. That was the case with Mank, which had been in the ether since as far back as Fincher’s feature debut, Alien3, as a script developed by his father.
“That play has been staged in many countries, and I was surprised and profoundly moved to see that everywhere, the response of the audience was always the same. “For years I was dreaming about making that film. I would say it was a profound desire,” he says. Partly what drove him was the response to the play. They were always waiting for us after every performance, just to share their own stories.”
Judas and the Black Messiah
Each of this year’s Best Picture nominees has survived a journey to cross the finish line, before earning the Academy’s consideration. Here’s how they came together.
“The film adaptation was the opportunity to try to find a translation of this confusion, but in a very cinematic way.” —Antonia Blyth Zeller says.
Sound of Metal
They were Abbie Hoffman, played by the Oscar-nominated Sacha Baron Cohen, and Eddie Redmayne’s Tom Hayden.
“It probably came out because it’s something that I find incredibly troubling and I wanted to talk about.” Writer and first-time director Emerald Fennell came up with the idea for this twisty tale of a woman avenging sexual assault before the #MeToo movement began in earnest. It came up “like a hairball” she says.
“This is a story that has always been with me and in my mind and in my heart,” he says. “The work of it was interesting in trying to birth it into a film — to get it away from my own personal experiences and memory toward something that works as a film.”
“Something could be done, only thanks to the cinema, something that was not possible on stage,” he says, “and it was to experience subjectively what it means to lose your bearings.” He plotted to constantly discombobulate the viewer with a subtly shifting environment. “Step-by-step, as subtle as possible, always in the background, things are changing.” Zeller felt that the medium of film would bring even more dimension to the story.
He knew that it was not an easy task to take. He’s 83 now. He was so determined he re-named his lead character Anthony. Zeller knew he wanted Anthony Hopkins in the lead role, but as a first-time director, it was a long shot. “I think he’s really humble and brave. “He was amazingly generous,” Zeller says. Trying to do something he hasn’t done yet, trying to be pure emotion and this vulnerability, it was something that he hasn’t explored yet, cinematically talking.” “The face I had in mind was Anthony’s.” Fortunately, upon meeting Zeller, Hopkins was intrigued by the role and agreed.
Chloé Zhao’s The Rider, the director’s second feature, struck her as exactly the kind of indie spirited production she wanted to be involved in. Zhao had cast a real young cowboy, recovering from a traumatic brain injury, to fictionalize his own story on camera, an approach that blended documentary with narrative fiction in ways that sparked McDormand to track Zhao down. Frances McDormand was at the Toronto Film Festival promoting Three Billboards when she saw a film that stopped her in her tracks.
I said, ‘Great, I’m in.’ I left his house, called my father and asked who the Chicago 7 were.” Back in 2006, Sorkin was summoned by Spielberg. “He told me he wanted to make a movie about the Chicago 7.
—Dino-Ray Ramos With the recent surge of violence against Asians, this film feels more important than ever. “I hope that what we are putting forward with this film is that we are not an issue. We are human beings first and foremost,” Chung says.
The screenplay was however loosely based on Chung’s life—something that gave him “a lot of apprehension about whether I was doing some kind of injustice to my parents.” But ultimately, his cast and crew eased those concerns as the project took on its own resonance.
McDormand and producer Peter Spears had identified a non-fiction book, Jessica Bruder’s Nomadland, that seemed like the perfect fit of director, star, and material, and Zhao got to work crafting a fictional lead—McDormand’s Fern— from the real stories about people who had given up settlement for life on the road. A few months later, at the Independent Spirit Awards, they each received prizes for their respective films, and used their speeches to announce how excited they were to work together.
But it was at a dinner in London that the latter helped Sorkin find the movie’s core. Sorkin then wrote 32 drafts for Spielberg and Paul Greengrass. Sorkin told Greengrass, “There are these two guys, brothers basically, who plainly can’t stand each other and one thinks the other is harming the cause.” And Greengrass said, “Write about the brothers.”
“I had this idea: If it was another actress, what would happen?” With Olivia Colman as Anthony’s daughter Anne, Zeller added another dementia-inspired twist by suddenly switching Colman for Olivia Williams.
This is the director, after all, who snuck Fight Club’s anti-corporate ideals past Rupert Murdoch, and woke the world up to the lawlessness of Silicon Valley’s club of billionaires with The Social Network. Trust David Fincher to turn to Netflix to finally deliver Mank, his long-gestating project that was so much about the glory days of Old Hollywood that it would be shot in black and white, using production techniques of the 1930s, and with sound design that echoed the movie palaces of the era. Where better for a provocateur to indulge in cinema history than at a streamer that has been accused of plotting its death?
If proof were ever needed that making movies is no walk in the park, Sound of Metal could be the perfect exemplar. Director Darius Marder nurtured the story he pulled together with Derek Cianfrance, with whom he'd worked on the screenplay for The Place Beyond the Pines, for more than a decade, shaping the screenplay with his brother Abraham Marder. And as he did, the film's tale about a heavy metal drummer who struggles with hearing loss took on a life of its own, itself shaped by the deaf community Marder consulted to ensure authenticity and representation.
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“He was a grown man; he knew what he was doing. Instead, what drew him was the aspect of the story that was about change. But he’d happily written and disappeared into the wings many, many times before, and on this one, he didn’t. I want this one on my headstone.’” —Joe Utichi “[Herman J. That was interesting to me. Mankiewicz] could sign a contract,” Fincher says. I was fascinated by the notion of a guy who is on record so many times decrying the shallowness and hopelessness of cinema finally saying, ‘Wait a minute.
Indeed, Daniel Kaluuya was surprised in his research for the role of Hampton. “When I saw the date when he was born and the date he was assassinated, I was like, ‘That can’t be right.’ Not only did they assassinate him at 21, he’d made it to Chairman by 21, and that blew my mind.”
The Trial of the Chicago 7
Others still had seen no alternative in an increasingly suffocating economy. Some had hit the road by choice. Into the script she incorporated many of the book’s real characters, charging them all to play themselves in the resulting film, to tell their life stories for the camera. And with a nimble shoot that slipped in and out of the Nomad communities with little fanfare, Zhao was very often able to place McDormand in that world without alerting the real Nomads to the Oscar winner in their midst. As chance would have it, Zhao had already been building her own RV when the project beckoned.
Playwright Florian Zeller’s The Father enjoyed several award-winning runs on the stage before it made its evolution to film, but first-time feature film director Zeller had long been imagining moving his unnerving story of a man sliding into dementia to the big screen.
The story follows a Korean American family that uproots from metropolitan Los Angeles to a small Arkansas town where they start a farm. In January 2020, Lee Isaac Chung premiered Minari, his first feature since 2012. Fast forward to 2021 and six Oscar nominations later, and the film’s shine has not dulled at all in the year since its debut. Kim and Noel Kate Cho, the drama provides a stunning portrait of the American dream, and immediately garnered buzz at the Park City festival. Starring Steven Yeun, Yeri Han, Yuh-Jung Youn, Alan S.
“I feel like Emerald had an incredibly clever approach in luring us, especially those of us who grew up in the ’90s, into nostalgic territory,” Robbie says. LuckyChap were smitten with the results.
And among the many finance wobbles in the development process, the project was on the eve of shooting when the money fell out yet again. But the path wasn't easy. "What Darius was offering was a unique experience," says Ahmed. However, with the support of Caviar's Sacha Ben Harroche and Bert Hamelinck, who say their niche is in producing work nobody else wants to touch, Sound of Metal did make it into production, and the experience of shooting it transformed all who took part. Actors came and went before he found Riz Ahmed and Paul Raci, who are both nominated alongside him, as well as Olivia Cooke and Mathieu Almaric for key roles. "You have to learn to play the drums in seven months, you have to learn American Sign Language, you have to do something that’s emotionally going to ask you to dig deeper than anything you’ve done before. It was like, 'Where do I sign?' That’s what I was looking for."
He based his performance on O’Neal’s revelation that he felt “bad” and “angry” about Hampton’s fate. A slightly harder job went to Lakeith Stanfield, who found only a 1989 TV interview with O’Neal, some court transcripts and a few anecdotal remarks from people who knew him. “It was so hidden by the FBI,” he says.
The Father
“He’d read the script a million times… Sometimes we could accommodate. was on set nearly 90% of the time,” King says. There would be things in the moment that he hadn’t considered that he would now be confronted with and it would really push us to change course. Sometimes it made scenes better.”—Damon Wise Sometimes we couldn’t. But it’s very different reading something and then being on set watching it unfold. King next had to negotiate with Fred Hampton’s son and widow. “Fred Hampton Jr.
—Joe Utichi But even the professional actors in Nomadland’s cast didn’t get away with hiding behind characters entirely. McDormand’s real life crept into the Fern Zhao constructed, and co-star David Strathairn blurred the lines between art and life to such a degree that his own son, Tay, was cast to play his son in the film.
Sorkin didn’t consider directing until Spielberg told him to stop rewriting and just do it. Then, Paramount, Cross Creek and finally Netflix got the film out during the pandemic. And Sorkin believes it was destiny. “Screenplays are never really finished, they’re confiscated,” he says.
“When it is I’ll transcribe it, and it takes not very long. The real bulk of the work is done entirely in my head, entirely with music.” “I don’t write at all until the end when it’s done,” she says.
The last thing Steven said when I left his house in 2006 was, ‘It would be great if we could release this before the election.’ He was talking about the 2008 election, but he didn’t specify. “Chicago 7 has never played to an audience,” he says. “I under- stand why and can live with it. So, I feel like I delivered the picture right on time.” —Mike Fleming Jr.

Friday Ratings: Once Again, ‘Shark Tank’ Is The Victor

Continuing the pattern of recent weeks, it was Shark Tank and the WWE Friday Night SmackDown in the top two demo positions for a rather torporous Friday evening.
At NBC, The Blacklist maintained at an 0.3, while its trailing Dateline came in with an 0.4.
The CW saw a new episode and repeat for Whose Line is it Anyway? Both tallied an 0.1, with the evening-closing Penn & Teller: Fool Us at an 0.1.” />
The soon-to-depart MacGyver came in with an 0.4, with Magnum P.I. Blue Bloods had the night's largest audience at 6.6 million Elsewhere, CBS saw its crime drama lineup perform strongly. (0.5) and Blue Bloods (0.6) building the CBS crime drama momentum later in the evening.
Later in the ABC evening, a new 20/20 was at 0.5, winning the newsmag wars on the night. ABC's Shark Tank came in at an 0.6, down slightly, while the WWE SmackDown scored an 0.5 to take the place slot.

Actors’ Equity Calls On Broadway Producer Scott Rudin To Release Employees From NDAs

We hope that Scott Rudin will also release his staff from any nondisclosure agreements they may have signed as a condition of employment. “We salute the courage of those who came forward.
Actors' Equity Association is calling on producer Scott Rudin, who "stepped back" from his Broadway productions today in response to allegations of workplace abuse, to release employees from nondisclosure agreements.
Earlier this week, Equity, along with SAG-AFTRA and American Federation of Musicians Local 802, issued a joint statement condemning harassment, bullying and toxic environments and pledging "to hold accountable those who violate human and legal norms of fair, respectful and dignified conduct in the workplace." The statement did not specifically name Rudin.
"We have heard from hundreds of members that these allegations are inexcusable, and everyone deserves a safe workplace whether they are a union member or not. “Since news reports emerged about Scott Rudin, we have had many private conversations with our sibling unions and the Broadway League," said Equity President Kate Shindle and Executive Director Mary McColl.
It is not the end of our work to ensure a workplace safe for everyone in the industry as we work toward reopening.” "This is an important step in creating truly safe and harassment-free theatrical workplaces on Broadway and beyond.
The Equity statement was issued shortly after Rudin announced today that he would relinquish "active participation" in his Broadway productions to "others from the Broadway community and in a number of cases, from the roster of participants already in place on those shows."
Some members of Equity have been calling upon the union to place Rudin on the "Do Not Work" list, and have spread word on Instagram of a March on Broadway this Wednesday to protest Rudin as well as social justice issues related to the Broadway industry.″ />

‘Jeopardy!’ Will Give Sportscaster Joe Buck A Shot At Hosting

Guest hosts so far have included Katie Couric, Dr. Mehmet Oz, Ken Jennings and the longtime executive producer of the program, Mike Richards. Scheduled but not yet appearing are Anderson Cooper, Bill Whitaker, Mayim Bialik, Savannah Guthrie and Dr. Sanjay Gupta.” />
Most of the host have had one to two week appearances. No reports indicate how long Joe Buck's tryout will last.
Fox sportscaster Joe Buck will guest host a stint at Jeopardy! The Hall of Fame broadcaster will see his episodes air in the mid-summer, according to reports.
Buck has called the World Series for Fox since 1996, and has also been the Fox voice of the NFL since 2002. His tryout follows that of Green Bay Packers quarterback Aaron Rodgers, who took over the show earlier as one of the rotating hosts since the death of longtime host Alex Trebek.
hosting. Buck is not expected to miss any of his sportscasts during his Jeopardy!

Cassie Randolph, ‘Bachelor’ Partner To Colton Underwood, Thanks Fans For Support But Does Not Address The News

Underwood has since landed a deal with Netflix for a reality series, sources close to the project tell Deadline. Netflix would not comment and details of the project are being kept under wraps.” />
On Friday, Randolph didn't say anything about Underwood's announcement about his sexuality.
I decided to take the week off, but will have one again next week!!” "“And yes, some of you are asking about my youtube for this week. "Thank you everyone for all the kind comments and messages," Randolph wrote on a link to her YouTube channel, which she usually updates weekly.
They split in May 2020. Randolph and Underwood were part of Season 23 of The Bachelor in 2019.
Randolph later had the restraining order lifted. After their split last year, Randolph filed a restraining order against Underwood, claiming he was stalking her.
Cassie Randolph, half of the volatile coupling with Colton Underwood on The Bachelor, spoke out Friday on social media. However, she did not address his earlier stunning announcement that he is gay.
Underwood came out Wednesday to host Robin Roberts on Good Morning America. Her social comments Friday again avoided the issue. Randolph, reportedly caught unaware of the interview, has yet to comment on that news, laying low in the ensuing media firestorm.

‘DC’s Legends Of Tomorrow’ Star Dominic Purcell Walking Away, But Burns A Few Bridges As He Departs″ />
Thank you all. “Big thanks to the cast and crew and all the awesome relationships I’ve made over the years. Apparently cooling down later, he deleted the original post and amended it with a different ending. Dom.”
It’s not lost on me how very fortunate I am.” He ended the post with a call for actors to "him me up on DM" to discuss what he termed "Fake (c-words)." The actors work ethic and talent must give them the confidence to question authority. ….Much love to all. In his first post on Instagram announcing his departure (see below), Purcell noted, "The studio does not care.
Legends of Tomorrow was one of 12 CW series that received early renewals in February. According to sources, the studio has not started negotiations with the cast about next season yet. Reps for the CW and Warner Bros. TV, which produces DC's Legends of Tomorrow, had no comment on Purcell's statements.
It was renewed for a seventh season in February. DC's Legends of Tomorrow is heading into its sixth season on May 2. He claimed no intention of leaving the show before then, but that post has since been deleted. Purcell originally said a few days after that deal was announced that he would be leaving at the end of Season 7 when his contract was up.
Actor Dominic Purcell is "walking away" from his role as Mick Rory, aka Heatwave, on DC's Legends of Tomorrow. But true to his character's temperament, he left a fiery message in his wake.

Oscar Producers Reveal Plans For Show And Covid Safety Procedure: “There Is No Universe In Which We Put Anybody At Risk”

The look will certainly be novel, not at all like a TV show, Soderbergh states, and notes it will be 24 frames per second, widescreen, with shots designed like movie shots, including over the shoulder. Collins said the show is developing into something they only dreamed it could be, and said they have been following Soderbergh's "manifesto."  They say it is unlike any Oscar show that has ever been tried (considering this year of Covid-19, that is quite an understatement).
But we want to put it in its place and then sort of move forward." We are hoping to combine safety with a show that feels like a glimpse of what is going to be possible when most people are vaccinated and rapid testing is the norm. This is an ongoing conversation with L.A. The whole situation has been incredibly fluid in making sure that we are adhering to the guidelines in terms of capacity, and how we are allowed to move people, and how long we are allowed to keep them in certain places. Covid is going to be there, because it is everywhere. There is that sort of strand that is going to run throughout the program of following the science of keeping people safe. County. There is no universe in which we are ever going to put anybody at risk. "This is all going to be part of the narrative of the evening, how we have gotten people back to work and what is involved exactly in doing that.
"That February date would have been impossible. One concern, especially among some publicists and actors to whom I have spoken, is whether masks will be required throughout the ceremony. That topic is very central to the evening," he said without elaborating. Things have so improved with the vaccines. "Masks will play a very important role in the story of the evening. Soderbergh answered that "cryptically" as he admitted himself. The producers also uniformly agreed that the ambitious show they are doing would not have been possible two months ago when the 93rd ceremony was originally planned for February 28th (the date the Golden Globes swooped in and took after AMPAS abandoned it). It was a great decision to push the show," said Soderbergh.
"I was drunk. Soderbergh was asked about his own memorable acceptance speech when he won Best Director for Traffic in 2001, something that has been played as a good example at past Oscar nominee lunches to show potential winners what makes a good speech. That's not a lie," laughed Soderbergh, who said it was a surreal moment being handed that Oscar by Tom Cruise affecting his whole equilibrium, since he had no idea he would possibly win. With the location for most of the ceremony taking place at Union Station, he says the room there has been beautifully laid out (David Rockwell is the production designer), and hopes it will encourage winners to say something meaningful. "We want people to say something, and we are giving them the space," he says.
It started with The Safe Way Forward last June (which Soderbergh spearheaded) and then was formalized in a negotiation with the Producers in September. "It is incredibly labor intensive, it is incredibly complex logistically, and it's expensive. This industry was at the forefront of creating protocol to get people back to work safely. "We've had a lot of practice. We know how to approach situations like this," said Soderbergh. I am in the middle of shooting my second film during Covid.
Oscar show producers Jesse Collins, Stacey Sher, and Steven Soderbergh this morning spelled out how Covid-19 protocols would be integrated into the April 25th broadcast, and assured they are taking every measure to make sure all nominees and participants are safe throughout the three-hour ceremony.
Logistics of locking them in has delayed the news of their participation. A list of 15 presenters was revealed earlier this week, but Soderbergh promised two more presenters would be named by the end of the week. Yesterday, they announced plans to have the nominated songs all performed during the 90 minute pre-show (all pre-recorded mostly at the new Academy Museum, as Deadline first reported in March). The actual winner, however, will indeed be one of the 23 categories to be announced on the show itself. The "red carpet" so associated with Oscars and awards shows will be "tiny," producers say, designed for intimate conversations with nominees, another bow to safety considerations of crowding lots of people into the same space. Producers say each song will have unique creative elements, and will be performed in their entirety, something that they say has excited all the performers involved, even though they will not be part of the actual Oscar ceremony itself, but rather the pre-show for the first time.
As Collins reiterates they want the show to register emotionally, reminding us we are a communal species and that it is important to get back into theatres and the experience of "movie love." "We want to see a potential future," he said. Overall, despite the fact that many of the nominated films this year can be construed as depressing or dark in some ways, Soderbergh wants the Oscar show itself to be uplifting and hopeful and about "what gets us out of this feeling that we're trapped at home," he says, hoping it doesn't remind us of the "pain and dislocation" people have been feeling over the past year.
Answering a question as to whether there has been outreach to invite President Biden, who has appeared before on an Oscarcast  (to introduce Lady Gaga's song 'Til It Happens To You), Sher said, "I think they have bigger fish to fry." Also producers, especially Soderbergh, were terse when answering a question about the use of zooms like other awards shows have done this year. The answer again to that, as they have repeatedly stated, is 'No'.
"We can control the image, the sound, working it into the overall show (more seamlessly)." "We will use satellite hookups," says Soderbergh for those nominees who can't participate any other way.
Certainly with Soderbergh and Sher having also produced the prescient 2011 film, Contagion, they would seem to have a leg up on how to do it for the Academy Awards as well.
We didn't anticipate where Europe would be at when we began this process. Sher added, "We are really lucky that we got to make this film together 10 years ago, Contagion, and got to know some of the leading epidemiologists in the world. It is a constant evolution. They have been involved, and advising us. As epidemiologists like to say 'We may be done with Covid, but Covid is not done with us'. But when you get more people vaccinated , and it is amazing that L.A. is open from 16 and up, then we really can move towards this and create a space where new variants can't develop, so it's science for me."
As for the content of the 93rd Annual Academy Awards itself, producers assured it will be optimistic about the love for and need for the moviegoing experience, with Sher even invoking the announced closure of Arclight Theatres and the venerable Cinerama Dome this week. "We were all dealt a blow with Arclight. We are here to make a case why cinema matters," she said.
But you have to find a balance. "The unusual, and hopefully unique for this year, circumstances around this show certainly opened up an opportunity to try some things that haven't been tried before. We want to satisfy these basic 'wants' on the part of the viewer while adding some elements that we feel make it more distinct, and less like a show that was made by an institution, and have it feel more personal. We want the show to have a voice."” /> "There are certain pillars to a show like this that you have to respect, and that you have to build on and around, so that's what we have been trying to do. You can't just blow the whole thing out," said Soderbergh.

ACE Eddie Awards: ‘Trial Of The Chicago 7’, ‘Palm Springs’, ‘Soul’ Top Film Winners; ‘Ted Lasso’, ‘Queen’s Gambit’ Score In TV – Full Winners List

The Trial of Chicago 7
Spike Lee
Matthew Friedman, ACE and Andrew Dickler
Kate Hackett, Arielle Kilker, Daniel McDonald, Mark Morgan, David Nordstrom, Sharon Weaver, Ted Woerner
Cindy Mollo, ACE
My Octopus Teacher
Samuel Bailey – University of North Carolina School of the Arts
Kevin Nolting, ACE
Chad Beck, ACE, Devin Concannon, Abhay Sofsky, Ben Sozanski, ACE
Rick and Morty, “Rattlestar Ricklactica”
Schitt’s Creek, “Happy Ending”
Pippa Ehrlich, Dan Schwalm
The Last Dance, "Episode I"
Klingman was introduced by longtime collaborator Jodie Foster; the pair teamed on Little Man Tate, Home For the Holidays and The Beaver. Wolinsky was introduced by David Chase, who teamed on 33 episodes of The Sorpranos. Satchel Lee, Lee's daughter, spoke briefly on the filmmaker's behalf. Lee was feted with virtual tributes from Leslie Odom Jr., Foster, longtime editing collaborators Barry Alexander Brown, ACE, Adam Gough, ACE, Nancy Novack, Sam Pollard and others.
Palm Springs
Alan Baumgarten, ACE
Ted Lasso, “Make Rebecca Great Again”
Here's the complete winners list:
Netflix's The Queen's Gambit won for Best Edited Limited Series or Motion Picture, while ESPN's The Last Dance took the non-theatrical documentary honor.
Lynzee Klingman, ACE
Adam Gough, ACE
Better Call Saul, “Bad Choice Road”
Disney/Pixar's Soul continued its strong run through awards season, taking the Animation prize for editor Kevin Nolting. Netflix's My Octopus Teacher won for documentary. Other top film winners in today's virtual ceremony hosted by the cast of NBC's Zoey's Extraordinary Playlist included Hulu and Neon's Palm Springs, whose editors Matthew Friedman and Andrew Dickler won for Best Edited Feature Film (Comedy).
It puts him and the film in frontrunner status in the Best Film Editing Oscar race, where it is competing against fellow ACE nominees Nomandland and Sound of Metal along with Promising Young Woman and The Father. Alan Baumgarten, ACE, edited the pic, about the unrest around the 1968 Democratic National Convention.
The Queen’s Gambit, “Exchanges”
Michelle Tesoro, ACE
Lee Harting
UPDATED with full list of winners: Netflix's Aaron Sorkin drama The Trial of the Chicago 7 won the marquee Best Edited Feature Film (Dramatic) honor Saturday to cap the American Cinema Editors' 71st annual ACE Eddie Awards.
Trevor Ambrose, CCE
Sidney Wolinsky, ACE” />
The well-constructed virtual ceremony included honoring Spike Lee with the ACE Golden Eddie Filmmaker of the Year Award, while Lynzee Klingman, ACE, and Sidney Wolinsky, ACE, received Career Achievement Awards for their contributions to film editing.
Chicago 7 is up for six Oscars this year including Best Picture. It follows last year's marquee ACE Eddie winner Parasite, which went on to win the Best Picture Oscar (Ford v Ferrari took the Oscar editing Oscar prize in 2020). A total of 22 of the past 30 ACE winners for best edited dramatic film and 11 of the past 16 have gone on to take that year's Oscar in the category.
David Byrne’s American Utopia
Chris McCaleb, ACE, Joey Liew
Cheer, “God Blessed Texas”
Baumgarten in his virtual acceptance speech thanked Sorkin for his "enthusiasm for editing — it was a pleasure to collaborate with you." He also thanks his wife, with a nod to the pandemic: "I think myself and as everybody understands I brought the work home literally — thank you for your patience and understanding."
Ozark, “Wartime”
Rick and Morty and Cheer also picked up prizes. TV winners today included the editors behind Pop TV's Schitt's Creek (for the series finale) and Apple's Ted Lasso on the comedy side and AMC's Better Call Saul and Netflix's Ozark on the drama side.

‘Food Network’ Star’s Murder Case: Judge Sets Bond For Half Of Couple Accused Of Killing 3-Year-Old

Arrest warrants claimed the Robinsons inflicted a “series of blunt force injuries” to Smith. The couple originally claimed that the child choked after drinking too much water. Later that day, Ariel Robinson said to police that Smith's 7-year-old brother had caused the bruising on her body, according to testimony in court.
Austin Robinson told police that Ariel had hit Smith with a belt on the day she was found unresponsive. Austin Robinson told police he could hear it from outside and when he came inside, he told Ariel, “You’ve gone too far.”
He and his wife face homicide by child abuse charges in the January death of their 3-year-old daughter, Victoria "Tori" Smith. Ariel Robinson remains imprisoned in the case. Smith died at a South Carolina hospital Jan. 14 after being found unresponsive at the couple's Simpsonville, SC home.
Austin Robinson’s attorney said his client was “extremely remorseful” and is willing to testify if the case goes to trial.
She was also often upset by how long it took the 3-year-old to eat, Assistant Solicitor Christy Kednocker-Sustakovitch said during the hearing. Austin Robinson also told authorities that Ariel Robinson would spank and beat Victoria.
 Kednocker-Sustakovitch said in court that Austin Robinson had been cooperating with authorities since his arrest. Kednocker-Sustakovitch testified that Austin Robinson told authorities that Victoria was treated worse than the other children in the couple's care.
Jerry "Austin" Robinson will be under house arrest, have GPS monitoring, and will have no contact with anyone under 18 years old as a condition of his release.
The husband of Ariel Robinson, winner of the Food Network's Worst Cooks in America Season 20 competition, had his bond set at $150,000 Friday by the presiding judge in the case.
The Food Network pulled Season 20 when the murder first came to light.” />

Storied Media Group Signs Pulitzer Prize-Winning The Marshall Project

criminal justice system. Storied Media Group will represent the publisher in the packaging and selling of its acclaimed, critical and timely reporting on the U.S. SMG will curate the publication’s daily stories, hard-hitting investigative pieces and growing archives, and market the articles to studios, streamers, networks and producers for adaptation worldwide.
Its diverse team is composed of some of the country’s leading talents in top-quality investigative and explanatory journalism. The Marshall Project has consistently produced work that has affected real world change. The 2015 series An Unbelievable Story of Rape, a collaboration with ProPublica, was adapted into the hit Netflix miniseries Unbelievable. The multi award-winning newsroom, founded in 2014 and named after the honorable justice Thurgood Marshall, was created to make an impact through journalism, rendering the criminal justice system more fair, effective, transparent and humane.
EXCLUSIVE: Pulitzer Prize-winning nonprofit newsroom The Marshall Project has closed a deal with Storied Media Group for representation of its film and television rights.
“What impressed us about The Marshall Project is their altruistic spirit and their ability to tell stories that propel the needle towards equality in our broken justice system. They’re the best example of journalism used for the greater good and we’re thrilled about the partnership,” said Storied Media Group Founder and CEO Todd Hoffman.
“The Marshall Project is excited to embark on this new collaboration with Storied Media Group,” said Susan Chira, Editor-in-Chief of The Marshall Project. We hope this new partnership will allow viewers to better understand some of the harsh realities of our justice system.” “We are looking forward to exploring all the ways that our journalism can be extended through film and documentary adaptation.
Since its inception, SMG has sold over 200 projects to the film and television community. Upcoming projects based on client IP include season two of Modern Love (Amazon), Alex Gibney’s Crime of the Century (HBO), and Space Launch Live (Discovery). Past projects based on SMG clients’ IP include: Tag (New Line), Clint Eastwood’s The Mule (Warner Bros), Insatiable (Netflix), APB (Fox), The Oath (Crackle), Kodachrome (Netflix), Patriot’s Day (CBS Films), Deepwater Horizon (Lionsgate), American Honey (A24), 36 Hours (Travel Channel).” />

Deborah Cox Joins HBO Max Series ‘Station Eleven’ As Recurring

Cox is repped by TCA and longtime manager Andy Howard at Shelter .” /> Her upcoming seventh studio album is set for release in 2021. Cox toured nationally in the lead role of the musical The Bodyguard. Andrews’ Rub and recurred in the BET comedy series The First Wives Club. She headlined the BET movie Influence and also appeared in the Lifetime movie V.C.
It tells the stories of survivors of a devastating flu as they attempt to rebuild and reimagine the world anew while holding on to the best of what’s been lost. Written and executive produced by Somerville, Station Eleven is a post-apocalyptic saga spanning multiple timelines.
Hiro Murai directs and executive produces with Somerville, Scott Steindorff, Scott Delman, Dylan Russell, Nate Matteson, Jeremy Podeswa and Jessica Rhoades. Somerville also serves as showrunner. Nick Cuse and David Nicksay will serve as co-EPs. Paramount TV Studios is the studio.
EXCLUSIVE: Actress-music artist Deborah Cox has been tapped for a recurring role in HBO Max’s Station Eleven, a 10-episode limited drama series based on the international bestseller by Emily St. John Mandel, from Maniac creator Patrick Somerville and Paramount TV Studios.
Cox will play Wendy, a musician looking for more in The Traveling Symphony.

Ryan Coogler On Keeping ‘Black Panther II’ In Georgia While Combating Repressive Election Laws – Guest Column

1 will expand access to the ballot by: H.R.
Outlaw voter purging,
Committing Congress to restore the Voting Rights Act
Transfer massive election authority to statehouse Republicans, including control of the State Election Board and the ability to remove county election officials who don’t do their bidding
While I wished to turn my concern into action, I could not do so without first being educated on the specifics of Georgia. For those reasons, I will not be engaging in a boycott of Georgia. What I will be doing is using my voice to emphasize the effects of SB202, its shameful roots in Jim Crow, and doing all I can to support organizations fighting voter suppression here in the state. Having now spoken with voting rights activists in the state, I have come to understand that many of the people employed by my film, including all the local vendors and businesses we engage, are the very same people who will bear the brunt of SB202.
Taking aim at barriers to voting, like burdensome registration systems and limited voting hours
Our film is staying in Georgia. Additionally, I have made a personal commitment to raise awareness about ways to help overturn this harmful bill, and continue to get educated on this matter from people on the ground. I will encourage everyone working with me to tap in with the local community directly affected by Senate Bill 202 and to leverage their influence and resources to aid in the fight for this particular and essential pillar of democracy.
Restore the Voting Rights Act and
Ensuring that individuals who have completed felony sentences have their full rights restored
Severely limit number of drop boxes and hours of availability for their use and
Ban out-of-precinct provisional voting except for 5pm-7pm on Election Day
Senate Bill 202 will:
Empower voters and expand access to the franchise
The John Lewis Voting Rights Advancement Act would bring back pre-clearance which is needed now more than ever.
Expanding voting by mail and early voting
H.R. 1 also ends partisan gerrymandering to prevent politicians from picking their voters.
House passed H.R. The Senate must now do its job by passing S. The U.S. 1. This key legislation will make critical reforms for voting rights. 1, the For the People Act.
Truncate the runoff period
Prohibiting voter roll purges like those seen in Georgia and elsewhere and
Creating automatic voter registration across the country
The For the People Act has broad-based support for its provisions to:
Add additional ID requirements for voting by mail (photocopy of ID for those without state ID/Driver's Licenses)
Protect our right to free, fair and safe elections.
Add new restrictions on polling location hours extensions
1 fights back against Republicans’ assault on voting rights by: H.R.
Ensuring that discriminatory voter ID laws do not prevent Americans citizens from exercising their rights.
Reduce the role of big money in politics
I will also be donating to Fair Fight Action. You can do the same at” />
Ban mobile voting
Outlaw private funding for elections administration
Strengthen ethics laws
Shorten the absentee application return deadline
I say this as I return to Georgia, a state that holds a special place in my heart. The fight for full enfranchisement is fundamental to the African-American struggle in this country and to this country’s claim to functioning democracy. As an African-American, and as a citizen, I oppose all attempts, explicit and otherwise, to shrink the electorate and reduce access to the ballot. But, when I was informed of the passage of SB202 in the state, and its ramifications for the state’s voters, I was profoundly disappointed. I lived in Atlanta for eight months while filming my last movie. I have long looked forward to returning.
Shorten the absentee ballot request period
Impose a date of birth requirement on absentee ballots
Criminalize handing out water/snacks to voters in line

Universal Studios Hollywood Is Back, With Big Dinosaurs; “We’re The One In California Now Open!”

ride resides, so you can see what you pets are really doing when you’re not at home." A more sedate "stroll along the cleverly themed Pets Place will bring guests to the front of Katie’s NYC apartment building where the The Secret Life of Pets:  Off the Leash!
Universal Studios Hollywood officially reopened Friday to California residents with new and revamped attractions including Jurassic World—The Ride and The Secret Life of Pets: Off the Leash!.
Due to high demand, this is taking longer than expected. We have a lot of Guests accessing our system, so you are now in a waiting room to plan your park visit.” “Thank you for your continued patience! “The wait is almost over,” said a page on
Annual and Season Pass Members attended a preview yesterday. Party size is limited to three households. The park announced its reopening plans March 30. Most but not all rides are operational while the park works with health and government officials on procedures for controlled capacity, physical distancing and required face coverings.
Universal Studios Hollywood had been shuttered for more than a year. Park fans in general seem more than willing to return in large numbers as sign of return to normalcy and fun after a pandemic year.
In a good sign for the business, ticket-buying online was a slog yesterday due to high demand when they went on sale at 8 am. "We're the one in California. NOW OPEN!!!!!!" said the park in a tweet, getting a jump on Disneyland, also shut by Covid, which will reopen April 30.
Other new attractions include The Wizarding World of Harry Potter Hogsmeade village and rides Harry Potter and the Forbidden Journey and Flight of the Hippogrif; Transformer The Ride-3D; Revenge of the Mummy: The Ride; Despicable Me’s Super Silly Fun Land; and Springfield, U.S.A., home of The Simpsons.”
The fully-articulated, lifelike Indominus spanning nearly 55 feet horizontally from head to tail and over 22 feet vertically, then stakes her claim at the ride’s finale in a forceful battle with arch-rival, Tyrannosaurus rex. Fans on Twitter are particularly taken with the Jurassic Park ride where “Indominus rex will lunge from her hillside setting, stalking guests just before they descend the giant waterfall drop to escape her grasp,” the park said.
“We have been looking forward to this moment for over a year and are incredibly thrilled to reopen our theme park today,” said Karen Irwin, President & COO, Universal Studios Hollywood. “There is certainly lots to celebrate and we are overjoyed to return team members to work and welcome guests back to enjoy a Universal Studios Hollywood experience that is better than ever.”″ />

Jimmy Kimmel & YouTuber Mark Rober To Host Livestream Fundraiser To Support NEXT For Autism

The livestream will be powered exclusively by creator-first fundraising platform Tiltify.
You can watch the announcement video above.” />
The Smigels dedicated themselves to addressing the lack of services and schools for people with autism after witnessing it first hand as parents of their son Daniel. Producing along with Kimmel's team are Michelle and Robert Smigel, whose Jon Stewart-led "Night of Too Many Stars" benefits for Comedy Central and HBO inspired Rober to create his own event, adding YouTube stars to the mix of comics and actors. Last year's "Night of Too Many Stars" had to be canceled due to the coronavirus pandemic.
The best part is that this is all being done for people in need and who are so deserving.” "It is inspiring to team up with Jimmy and Robert and create this unprecedented opportunity to bring together traditional entertainment stars with some of the world's biggest YouTube creators. “Autism awareness is such a personal cause for my family and me," said Rober. I don't think we have ever seen these worlds unite on a scale like this before.
Color The Spectrum: A Livestream To Support the Autism Community, presented by YouTube Originals, will air Friday, April 30 at 8pm EST / 5pm PST on Rober’s YouTube Channel. Jimmy Kimmel is teaming with former NASA engineer and YouTube creator Mark Rober on a three-hour livestream event to raise money for NEXT for Autism.
Additional sponsors include Nexo, White Castle, Tommy Hilfiger, Ty Beanie Babies, Guidehouse, New York Life Investments, and Conagra Foods.
The star-studded, celebrity and creator-led event will feature musical performances, comedy skits, and DIY science stunts to benefit autism programs across the country. Special guests include Jon Stewart, Conan O’Brien, Chris Rock, Adam Sandler, Stephen Colbert, John Oliver, Jack Black, Andy Samberg, Paul Rudd, Maya Rudolph, MrBeast, Zach Galifianakis, Mark Hamill, Sarah Silverman, Terry Crews, Marques Brownlee, Rhett & Link, with more to be confirmed in the coming days.
"It's been a year since we had to cancel our "Night of Too Many Stars" benefit and many of the programs and schools we support are hurting greatly," said Robert Smigel. "So we're beyond grateful to Mark and Jimmy for making this happen for NEXT for Autism."
Additional information about NEXT for Autism can be found here. Viewers will be able to engage in real-time with the show’s hosts and guests while supporting NEXT For Autism at starting on April 30.

Best Director Nominee Thomas Vinterberg Says ‘Another Round’ Is About “Letting Go Of Control, Allowing Yourself To Fail”

But, yes. Obviously, they were not around when I did Festen. Mads is such a specifically, precise and clever guy, and it’s the same thing with Tobias. VINTERBERG: Oh yeah. Those guys are brilliant and, yes, we’ve done it once before. It’s a beautiful match of really, really intelligent, great, brilliant workers.
You know the film Zorba the Greek? I always was mesmerized by that, because everything fell apart in that movie, everything was destroyed. I love it, particularly the end scene, where they dance on the beach. I felt that was mesmerizing, and I kind of went for it. They call it “a beautiful catastrophe”. The end of this movie is a beautiful catastrophe as well.
It’s about allowing yourself to enter a room where anything can happen. Which I suppose, for me, is the main theme of the movie: letting go of control, allowing yourself to fail. You can see that reluctance, even in the dance. We kind of built that into the choreography—he’s dancing a little bit, then he’s retreating, then he’s dancing a little bit more, then he’s retreating, and finally he lets go of control. VINTERBERG: Right. But that’s the shorthand of Tobias Lindholm saying, “OK, if you want him to dance at the end, we have to prepare this—we have to build the urge in the audience to see this happen.” So, we worked hard on that, and it wasn’t easy. Life just happens to you. It’s not about drinking. Things that are not part of your performance culture, your life of measurements.
DEADLINE: You’ve been directing for 30 years now. Do you still remember why you wanted to be a director and is it still the case now?
You’ve had success and failure in roughly equal measure. Is failure a part of what makes a good artist? DEADLINE: You mentioned “allowing yourself to fail”.
But the story—the story of doing this experiment—I feel came a bit later than that. When we then decided to make them teachers, it really took shape. VINTERBERG: At that time, it was still only a pitch. And, as I remember, back then it was more like a celebration of alcohol. We’ve had very close relationships with people who've lost either their life or their dignity to alcohol. And then maybe in 2015, we figured out that if we wanted to make a movie about alcohol, we had to talk about the whole spectrum of it, and also talk about the fact that it kills people and destroys families. We were looking for it for a while, and then when we ran into [Norwegian psychiatrist] Finn Skårderud’s theory [that humans are born with a blood alcohol level that is 0.05 per cent too low], things started to take shape.
DEADLINE: Have you tried it?
I have to remind you, I grew up in a commune, so the element of togetherness was natural for me. What I did not know was how much crazy hard work, how many humiliations I would suffer, and how life-consuming it would end up being. Luckily, I didn't know, because then I would have turned around. Pursuing those vulnerable moments in human beings, and even have a lot of people around me doing it. I guess I was 16 or 17 when I shot my first film with my friends and I was hooked. I was, and still am, an insecure person. I really enjoyed turning it into a profession.
DEADLINE: What was so specific about the reaction in Denmark?
I’ve said this before, but the best advice I've ever had, was from Ingmar Bergman in that regard. VINTERBERG: It’s a double-edged sword. You become less daring.” I think the whole idea is to try to not get too carried away, either when we fail or when we have success. The problem is you become cautious. He said to me, “Always decide your next movie prior to the premiere, prior to the opening night.” But then again… I remember talking to a boxer once, and he said, “If you have experienced a knockout, it's the ultimate humiliation. Through failure, you learn to enjoy success, and it gives you courage somehow to know that, OK, it can’t get any worse than this.
DEADLINE: What is it about the eyes?
VINTERBERG: Well, it's real in the sense that a Norwegian psychiatrist said it and wrote it! It’s only in the movie business where you can have theories about everything. So, it’s basically just something someone said; I guess polemically. But, from an academic view, I don't think it makes sense. We tried to elevate it into an academic experiment, of course. But in the world of academics, it takes more than just saying something to qualify as a theory. He read the script and helped us with it—he's very supportive and likes it a lot.
DEADLINE: What’s your next project?
DEADLINE: And then you released this film in the middle of an uncontrollable pandemic…
DEADLINE: What would be the Hollywood equivalent?
We could actually sit in a cinema full of people, watching the film, and that was sensational. The international success of the film became real to me in Rome, and in Lyon, and in Paris, during a trip that I went on [in October 2020]. VINTERBERG: We felt it already with Denmark—there were some really strong reactions here.
DEADLINE: What do the Oscars mean to you?
It excites me to meet new people, new genres, new workshops. I really enjoyed that. With Kursk, it excited me to enter a room with a lot of water, and technicians, and 200 people doing things I didn’t understand. VINTERBERG: I feel that there’s a continuity in my own movies—those I write myself—and when I go abroad to do other people’s scripts, it’s a complete breach of my continuity, but it serves a purpose somehow. And, of course, at the core of Kursk, there was a story of togetherness, which has been a theme throughout my career, I guess.
DEADLINE: In what way?
It’s very rare that a film sells that much. If you really want to get high numbers in Denmark, it has to be a Danish film. VINTERBERG: A Hollywood movie would never get those kinds of numbers.
DEADLINE: How difficult it is to film drunk scenes?
DEADLINE: Obviously you’ve worked with Mads before, so you knew he’d been a professional dancer. Had you wanted to have him dance in a movie before?
But even worse, you might have a success, and you become even more strategic and self-aware.” I said, “But I'll be busy at that time.” And he said, “Exactly. I’m not very good at it [laughs]. When you’re busy, there’s a shorter distance from the heart to the hand. VINTERBERG: He said, “Two things can happen on an opening night. When you’re in the middle of things, you just get an idea—boom!—and you take it and just do it.” He had all these mechanisms for not getting carried away by these things. And that’s what I’m trying to aim for. One is that you fail, and you get paralyzed, and you start becoming strategic in trying to save your career.
DEADLINE: How real is the theory?
Hansen], my old collaborator from my graduate film, which was called Last Round[1993] and was actually nominated for a student Oscar back in the day, and even had the same actor—Thomas Bo Larsen—as Another Round. But it’s been a joyful experience so far.” /> VINTERBERG: It’s not fully set up yet, but it’s almost fully set up. It’s not going to be with Tobias this time, as he’s becoming increasingly rich and famous as a director, so I'm working with [Bo Hr. It’s a TV series, so there’s a lot of pages, a lot of minutes. I’m writing a TV series, Families Like Ours, which I’m very much enjoying.
We’ve been incredibly lucky. But that can also be turned into an advantage, I have to say. And then it finished its run, they locked down again. Similarly, the film was in final mix when the whole pandemic thing broke out, so it never affected the film back home. There’s been a guardian angel somewhere with this movie. Then, of course, there’s been all the festivals, that we haven’t been able to attend, which has been a shame. VINTERBERG: No. The cinemas opened during a certain timeslot in Denmark, we put the film out there, and it filled every cinema in Denmark throughout that timeslot.
So, they drank, but they didn’t drink crazy. VINTERBERG: No, because that wouldn’t have worked out. They wouldn’t be able to remember what happened.
And at the same time, in the same cinema, you had ex-alcoholics who felt that this movie was about them, and felt seen by it, and enjoyed the fact that someone was finally talking about why it’s so great to drink. The film made sense to a lot of different people of a lot of different ages and a lot of different social levels, so it was a proper blockbuster. A lot of everything, basically—all ages, primarily women. A lot of youngsters used the film as a kickstart on a Friday night. VINTERBERG: There was a lot of laughing, a lot of cheering, and a lot of tears. It has sold more tickets than I’ve ever tried in my life. In Denmark, it was 800,000 people, which, out of 5 million, is a lot.
Is there a kind of continuity in the films you make? You had The Commune already wrapped by then, but you ended up doing Kursk instead. DEADLINE: You said you were going to do Another Round after Far from the Madding Crowd. What guides you?
DEADLINE: You first began talking about Another Round while you were promoting Far from the Madding Crowd in 2015. Is it the film you thought you’d end up making or has it changed?
DEADLINE: What did he mean by that?
I’m nervous that I’m too far from reality. I haven't tried it because I’m nervous about the outcome. VINTERBERG: No. But the French distributor tried it, so I’ll ask them how it went.
DEADLINE: But it works for Mads’s character, because you get the sense that he’s someone who has fallen into teaching and is in a rut…
And it’s not necessarily very healthy. A lot of this stuff can be dealt with on Zoom, which means I can go to the office and work on my next thing. VINTERBERG: If a film is successful, which this one has been, you very easily find yourself doing a year of traveling and celebrating yourself.
I played guitar, but I didn’t have the courage to leave school to play in a band, which my friends did. And then, when I actually was able to put a film together, I was immediately attracted to the group effort: the fact that a lot of people went through so much, and spent so much time and money and effort, to pursue a little bit of vulnerability in a human being, and make sure that we can share it with the world, was just so exciting to me. I started when I was 16 and I was very shy. VINTERBERG: Well, to begin with, I just wanted to be famous, basically.
Throughout my childhood, it was a thing I dreamt of. There was a lot of camaraderie, so it became more like a family, a family of people who all share the same interests. And then when I went there with The Hunt it became real, and I suddenly met all these cineastes—people who have a true fascination for film. THOMAS VINTERBERG: Since my childhood it has been a dream, like a kind of phantom. I’ve been catching myself doing Oscar speeches—like, when I’m in the bathroom. But, as a kid and as a youngster, it was a filmmaker’s nirvana, I guess.
DEADLINE: What do you remember of that time you were there with The Hunt?
I remember the show—which was fantastic—and the disappointment of not winning. And I remember getting drunk with my friends, and with my beautiful wife. Which was OK, actually. I remember going to a restaurant and a lot of people talked about Brad Pitt—he was supposed to be sitting in the next room. It’s going to be difficult… Not difficult, different this year. I hate when assholes win. VINTERBERG: Meeting all these great people and all the other nominees. I never saw him, though. It was good evening, actually. That was bearable, definitely. But he’s really nice, so that was good. You know, I really like Paulo Sorrentino, who stole the Oscar from us that night [with The Great Beauty]. I had a lovely night. He’s a nice guy, and I enjoyed that he was winning.
After becoming the toast of Cannes in 1998 with his Dogme film Festen, the Danish director fell sharply from grace with the follow-up It’s All About Love and endured several commercial flops before returning to favor with his provocative 2012 Oscar nominee The Hunt. His latest, the drinking drama Another Round, could have set him back to square one—as shooting began, his teenage daughter died in a car crash, and its Cannes premiere was scuppered by the Covid-19 pandemic—but somehow it prevailed, sweeping festival prizes across the globe and bringing Vinterberg back to the Oscar conversation. Even in a world as volatile as the film industry, Thomas Vinterberg has had some serious ups and downs.
They’re both “reality rules” kind of guys, and they felt it was a bit of a stretch, to have a school teacher ending up in a musical-like scene at the end. And also, I felt it really made sense, in a movie about drinking. I always wanted it, but there wasn’t really the opportunity, until this project came about. Mads was very nervous about it, and so was Tobias Lindholm, my co-writer. I felt that too, but I had this urge to see him dance.
What were you doing when lockdown started—were you still working on the film? DEADLINE: With the pandemic, the film could very easily have gone a different way.
Like if you’re a character in a Hitchcock movie and you’ve just killed someone, it’s about pretending that you're on top of things, that you’re happy and fresh. I mean, when you're below 1.0, it’s a bit like normal acting, where you hide everything. If you’re a drunk, it’s about pretending that you’re not drunk. It actually helps them act with their eyes—they let go of all that scanning around. But there’s a difference to how drunk you are, of course. It’s the difference between control and lack of control, so if you act like your body is out of control, but people can see that your eyes are navigating, it’s a giveaway. So, when they become blurry and watery and reddish, it helps. It’s the same thing with playing drunk—up until you get crazy drunk, and that's where it becomes really difficult. It’s all about that dualism. VINTERBERG: They go blurry. Acting is a lot about hiding—I guess you know that.
DEADLINE: Tobias’s background is in very gritty material and yours isn’t. What do you think makes you work together so well?
For this film, they didn’t only have to be drunk, they had to be very tender, they had to be fun, they had to be very refined, they had to be great teachers, they had to dance… I put a lot on their plate. Eight hours a day, for five days, which included filming the actors under different levels of influence of alcohol. VINTERBERG: It’s really difficult. We also saw on the videos that when people fall over when they’re drunk, they don’t protect themselves, they just fall on their heads, so we needed the stunt department to come in. We watched a lot of material involving drunks—for some reason, particularly Russian videos [laughs]. It was a lot of fun, but also a lot of hard work. The eyes were a big giveaway constantly, especially at a high level of alcohol intake, so we had to keep calling the makeup department. The drunken part of it just had to work, so we had a full week of rehearsals. There were a lot of practicalities that we had to work on, basically.
DEADLINE: Did you have any rehearsals for “crazy drunk”?
DEADLINE: When did you first realize Another Round was gathering momentum?
DEADLINE: To talk about about your career highs, it does seem that you, Mads and Tobias are something of a dream team when you work together. Is there something special that comes out of working with those two in particular?
It would have been beautiful! The jazz hands? Like in The Hunt, the audience would have been sure that he was guilty if he started dancing [laughs] In Nicolas Winding Refn’s movies, it would have been even more fun—can you see it in Valhalla Rising? VINTERBERG: I’ve always wanted to, but there's never been an opportunity.
VINTERBERG: Oh yeah. Of course, I would love people to see this film in screening rooms. But, having said that, the film is landing in an environment where people are yearning for this, I think. But it’s given this film some extra energy. That you can actually all feel the same thing, at the same time, is an enormous and almost forgotten thing. Collectivity? I miss the element of… what do you call it? Community?
His early prison film R had some of that same element. VINTERBERG: We like each other. Our kids know each other, our wives know each other, and we enjoy each other’s company. He’s the guy cleaning up things and structuring things, and I’m the guy messing up a lot, you know? We like each other’s company—we’re friends. The idea of creating a closed, confined space with people, and then dropping conflicts into that. And I think when Tobias started moviemaking, he was inspired by my early work—Festen in particular. And I’m inspired by him, I admire him, so, I guess there’s an element of mutual admiration.