Bautista has hooked into the cinematic relaunch of one of the most celebrated science fiction properties of all time, one that is expected to launch a multi picture franchise. Bautista is coming out of the contentiousness of standing tall last year for his Guardians of the Galaxy director James Gunn when Disney fired the filmmaker when old vile tweets from years ago were served up.
Legendary acquired film and TV rights to the Frank Herbert novels Dune in 2016, with the intention of making multiple films. Villeneuve chose that film over numerous offers as his followup to Blade Runner 2049.
Bautista can be seen in 2019 in the fourth installment of Marvel’s Avengers: Endgame in May; the Fox comedy Stuber opposite Kumail Nanjiani in July and in the STX action/ comedy My Spy which he wrapped at the end of 2018.
Known popularly as “spice,” the drug gives its users heightened consciousness and an extended lifespan at the cost of crippling addiction and fatal withdrawal. The original was a contentious shoot, with Lynch battling his producers and financiers, but Dune has been tapped successfully for the small screen and the version by Villeneuve, after films from Incendies to Sicario, Arrival to Blade Runner 2049, makes for about as anticipated an iconic scifi novel series adaptation as you’ll find in Hollywood, Game of Thrones meets Star Wars. The young nobleman Paul Atreides is the central figure in the series of sprawling epic novels first published in 1965. Spice, use of which makes interstellar travel possible, is found only on the desert planet of Arrakis — aka “Dune” — and as such is the most valuable commodity in the galaxy. Chalamet will play the lead, which in the David Lynch-directed original was Kyle MacLachlan. It is set in the far future involving worlds beyond Earth, ruled over by competing feudal families who control access to a drug called Melange.
They worked together on Blade Runner 2049. His role is being kept under wraps, but this reunites Bautista with director Denis Villeneuve. EXCLUSIVE: Dave Bautista is set to join Timothée Chalamet and Rebecca Ferguson in Dune for Legendary.
Bautista is repped by CAA, the Meisner Entertainment Group and attorney Jay Rosenthal at Mitchell Silberberg & Knupp.” />
Chalamet is coming off an acclaimed and Oscar-nominated performance in the Luca Guadagnino-directed Call Me By Your Name, and he follows with another Oscarbait picture, as the title character in Amazon Studios' Beautiful Boy, the harrowing true chronicle of addiction first depicted in the bestselling father-son memoirs by David and Nic Sheff. Chalamet stars with Steve Carell for director Felix van Groeningen, who wrote the script with Luke Davies, based on the memoirs Beautiful Boy by David Sheff and Tweak by Nic Sheff.
Chalemet is repped by UTA and attorney Lev Ginsburg.” />
EXCLUSIVE: Timothée Chalamet is in final talks to star in the Denis Villeneuve-directed Dune, the cinematic relaunch of one of the most celebrated science fiction properties of all time for Legendary.
Legendary acquired film and TV rights to the Frank Herbert novels Dune in 2016, with the intention of making multiple films. That included James Bond, this well before Danny Boyle came in with his own take for that movie that was drafted by John Hodge. Villenueve chose that film over numerous offers as his followup to Blade Runner 2049.
Spice, use of which makes interstellar travel possible, is found only on the desert planet of Arrakis — aka “Dune” — and as such is the most valuable commodity in the galaxy. Chalamet will play the lead, which in the David Lynch-directed original was Kyle MacLachlan. The original was a contentious shoot, with Lynch battling his producers and financiers, but Dune has been tapped successfully for the small screen and the version by Villenueve, after films from Incendies to Sicario, Arrival to Blade Runner 2049, makes for about as anticipated an iconic scifi novel series adaptation as you'll find in Hollywood, Game of Thrones meets Star Wars. It is set in the far future involving worlds beyond Earth, ruled over by competing feudal families who control access to a drug called Melange. The young nobleman Paul Atreides is the central figure in the series of sprawling epic novels first published in 1965. Known popularly as “spice,” the drug gives its users heightened consciousness and an extended lifespan at the cost of crippling addiction and fatal withdrawal.
For Dunkirk, composer Hans Zimmer and filmmaker Christopher Nolan wanted an original score that was unlike any other for a World War II movie. As a maestro of synthesized themes going back to his days with the pop band The Buggles and his early scores such as Rain Main and Driving Miss Daisy, one might assume that's an easy feat for Zimmer. However, as the Oscar-winning composer of The Lion King details in our interview, cracking a sonic world was something he had to continually go back to the drawing board for with Dunkirk. Zimmer talks about his long-running working relationship with Nolan, which has spanned such movies as Interstellar, Inception, and The Dark Knight trilogy, as well as his co-composing with Benjamin Wallfisch on Denis Villeneuve's sci-fi opus Blade Runner 2049. ” />
Working with Ford brought Villeneuve back to film school as he said he "learned so much working with him about how to approach a scene and a character." He added, "He’s a very, very thoughtful and profound human being and it was a privilege."
"He was on board very generously how has this character evolved over 20 years and where he would be exactly…it was a long process." "When I met Harrison for the first time, I told him I need you to inspire me," he said. Another challenge for Villeneuve, he told Deadline's moderator Mike Fleming Jr., was bringing back the character of Deckard. Like the visuals, he wanted to respect where the character came from, but at the same time, explore how he has evolved.
“I felt such a huge responsibility to respect the spirit and the poetry of the first Blade Runner,” Villeneuve told the DGA Theater audience of Academy and guild voters last month. Blade Runner was groundbreaking in terms of creating a futuristic dystopian world and with 2049, Villeneuve talked about how he wanted to pay homage to the original visuals and add his own take on this world. “That was a big task, and it took a long visual research.”
Blade Runner 2049 director Denis Villeneuve took the stage at Deadline's The Contenders award-season event to discuss the anticipated follow-up to Ridley Scott's classic inspired by Philip K. Dick's novel Do Androids Dream of Electric Sheep? The film has grossed $256.6 million worldwide since its October bow via Warner Bros. During the discussion, the Oscar-nominated director talked about translating the 1982 sci-fi visual spectacle for 2017 and working with Harrison Ford, who reprised his role as Rick Deckard.
Check out the conversation above.” />
Pirates of the Caribbean: Dead Men Tell No Tales
Ghost in the Shell
Kong: Skull Island
The list includes seven of the year's 10 biggest domestic grossers including the top four –Beauty and the Beast, Wonder Woman, Guardians of the Galaxy Vol. 2 and Spider-Man Homecoming. It is peppered with others such huge-grossing films as Thor: Ragnarok and Logan alongside big-budget underperformers Valerian and the City of a Thousand Planets, Alien: Covenant, Ghost in the Shell and specialty pics The Shape of Water and Okja.
The Shape of Water
Valerian and the City of a Thousand Planets
Guardians of the Galaxy Vol. 2
Blade Runner 2049
Here is the full list of 20 films vying for the VFX Oscar:
The Academy of Motion Picture Arts and Sciences has narrowed the field for Visual Effects Oscar nominations to 20, ranging from blockbusters and would-be blockbusters to specialty fare and two films that haven't hit theaters yet.
Beauty and the Beast
War for the Planet of the Apes
The shortlist also features a pair of films that have yet to be released: Star Wars: The Last Jedi (December 18) and Jumanji: Welcome to the Jungle (December 20).
Nominations for the 90th Oscars will be announced on January 23, and the ceremony is set for March 4 at the Dolby Theater. The Academy’s Visual Effects Branch Executive Committee determined the preliminary shortlist. Later this month, the committee will select the 10 films that will advance to nominations voting.
Jumanji: Welcome to the Jungle
Wonder Woman” />
Star Wars: The Last Jedi
AMC Entertainment Holdings, Regal Entertainment Group and Cinemark Holdings are down in NYSE trading in the wake of a Blade Runner 2049 falling short of expectations in its debut weekend.
The lackluster opening weekend for the sequel follows the worst summer season at the domestic box office in more than a decade. September perked up to a record take for the month, driven by It and Kingsman: The Golden Circle.
In a note today, Wedbush Securities analyst Michael Pachter cut his price target on AMC from $22.75 to $20.50, lowered his target for Regal Entertainment from $23 to $19 and cut his target for Cinemark from $44 to $42. At noon PT today, AMC was down 6.7% to $14.18 a share, Regal was off 4.4% to $16.04 and Cinemark had lost 3.5% to $36.37.
Blade Runner 2049, starring Ryan Gosling and original Blade Runner topper Harrison Ford, opening to $31 million in North America, after forecasts earlier last week had it pegged at about $45 million.
Four films are set for wide release Friday: STX's Jackie Chan-Pierce Brosnan action thriller The Foreigner, Universal/Blumhouse horror pic Happy Death Day, Open Road's biopic Marshall starring Chadwick Boseman as Thurgood Marshall, and Annapurna's Professor Marston & the Wonder Women.” />
These scenes are surreal delights, and Ford proves every inch the movie star he is. I wouldn't dare talk about where K finds him, or what iconic pleasures Villeneuve and screenwriters Hampton Fancher (who wrote the original) and Michael Green have dreamed up from Philip K. To tell you the truth, even if I was submitted to waterboarding techniques I probably couldn't reveal the details of this byzantine plot. Suffice to say the deliberately paced film really comes alive once Ford comes on board about an hour and a half into it. Dick's initial inspiration that led to the first film. He also is a fine actor and his presence in scenes opposite the coolly effective and brooding Gosling (back in Drive mode) are there to be relished.
It opens Friday. Warner Bros is the domestic distributor through their deal with Alcon, while Sony using its Columbia Pictures label has the rest of the world.
The score from Hans Zimmer and Benjamin Wallfisch, who replaced Villeneuve's long-favored composer Johann Johannsson during production, is the perfect complement to what's on screen in this epic art house action picture with a budget of $150 million according to Sony, which financed with Alcon Entertainment. Oscar nominations all around for the impressive technical artistry on display including Roger Deakins' stunning cinematography and Dennis Gassner's inventive production design.
Plot-wise, Blade Runner 2049 is set 30 years later in Los Angeles and the old Nexus 8 replicants are being rounded up and replaced by new Nexus 9 models that are meant to be the ultimate in cooperative yes men and women, artificially intelligent beings who do as they say. Ryan Gosling plays K, a Blade Runner hunting down the Nexus 8s as we see near the beginning of the film when he tracks one named Sapper (Dave Bautista) and engages in an uber-brutal fight to take him out. Thankfully Harrison Ford is back to reprise the role he made famous all those decades ago, and for seeing him expertly slip back into this memorable character the new incarnation from director Denis Villeneuve proves to be worth the wait, even if it has its flaws. But then he stumbles on a secret that is an important key to the future's future, and it leads him on a hunt for the original LAPD Blade Runner, Rick Deckard, who has disappeared and is in hiding somewhere.
Chief among those as I say in my video review above is an overly long and drawn-out running time of 2 hours and 44 minutes that could have used some trimming (the original was just under two hours). The storytelling takes its sweet time and quite frankly can be a bit confusing to see where it is all going, but maybe that's the point. At the small press screening I attended, a Warner Bros publicist read a letter from Villeneuve asking critics not to reveal plot details of the film in their reviews, something he noted might make it more difficult for them to do their job in talking about his film.
That movie was only intended to be a one-off and not a franchise, but the world being as screwed up as it is, a revisit to this particular dystopian vision of our future is probably a good idea — even as we are still two years away from the events of the first film set in 2019. It is hard to believe it has been 35 years since Ridley Scott's groundbreaking and, as it turned out, enormously influential 1982 noirish sci-fi landmark Blade Runner.
He lets his story play out in specific beats which may be too slow for some who just want to get on with it. Aside from Gosling and Ford, there is a fine supporting cast including meaty roles for several women. The film looks splendid and certainly will spawn discussion. Villeneuve, who has given us a series of masterfully crafted movies in recent years including his Foreign Language Oscar nominee Incendies, Prisoners, Sicario and last year's cerebral and spiritual alien drama Arrival, does not stint from a style heavily influenced by European cinema. That's probably enough. Ana de Armas plays Joi, K's Nexus 9 companion; Robin Wright is his no-nonsense boss Joshi; and best of all is the terrific Sylvia Hoeks as Luv, who works for Marshall, the blind entrepreneur determined to bring the Nexus 9 project to fruition — he's played with eerie authority by Jared Leto.
Let us know what you think.” /> Do you plan to see Blade Runner 2049?
Spoiler alert: It snows in L.A. Since 1982 it has been copied in countless other movies (most recently the flop Ghost in a Shell), but you can't top Scott's blueprint. I have never really bought into the idea that the original Blade Runner was all that deep. in this thing. Wisely, Villeneuve doesn't try to do that in taking the story forward, but his smog-infested and snowy Southern California as presented here makes a strong case not for the effects of global warming, but rather global cooling. It was, however, a visual powerhouse laying out a future Los Angeles that was about as dazzling a vision of a society on the edge as had been seen up to the time.