Political discourse was not a heavy topic at Saturday’s Film Independent Spirit Awards, which seemed to be an apolitical ceremony compared to previous award shows this season.
Casey Affleck won the Best Lead Actor for his role in Manchester By the Sea and upon taking the stage took a moment to slam Donald Trump’s “abhorrent” and “un-American” policies.
“The policies of this administration are abhorrent and they will not last. You don’t have to clap out of obligation – They’re really un-American,” he told the audience. “It’s a time to struggle for the future and the soul of our nation. I know this feels preachy and boring… but I’m just lending my voice to the chorus here…You are struggling – you’re doing it so well and speaking up.”
The actor had earlier received praised for arriving to the ceremony in a shirt that read “Love” in Arabic.
The subdued ceremony was light in the mentioning of Trump, with hosts John Mulaney and Nick Kroll poking fun at the president in their opening monologue.
Backstage after Moonlight’s marquee win in the Best Film category, Jenkins was also asked about the political climate in the U.S. “I feel terrible. There’s no other way to answer that question. There’s quite a few of us wearing these pins tonight, ‘Glad togetherness.’ It’s about inclusivity. I’m pissed like Casey said he was pissed off, as I’m sure the majority of the people in that hanger are pissed off. I think Moonlight exists because of this beacon of inclusivity. I’ve gotta tell my stories and speak truth to power… I made this movie under a different administration, this space is not so safe.”
Watch Afflecks’ full speech above.
Deadline’s Patrick Hipes contributed to this report.
UPDATE with full winners list: A24’s Moonlight swept all five competitive awards it was up for at the 32nd annual Film Independent Spirit Awards, wrapping the day at Santa Monica’s Barker Hanger with a win for Best Feature. With Oscar frontrunner La La Land not eligible for these awards (its budget was above the Spirit Award cutoff of $20 million), it was Barry Jenkins’ drama who stole the spotlight, with Jenkins winning for Director and Screenplay in addition to wins for Cinematography and Editing.
Jenkins dedicated his Director award to “anyone who was on the call sheet for those 25 hot-ass days in Miami,” he said. The pic was also awarded the Spirits’ honorary Robert Altman Award, given to Jenkins, the cast and producers.
The top actor categories also looked to be momentum-builders for Elle star Isabelle Huppert and Casey Affleck of Manchester By The Sea. In an awards season marked by political statements both onstage and backstage during these events, Affleck was one of the only ones to speak directly on the issue. Onstage after his Lead Actor win, he said: “The policies of this administration are abhorrent and they will not last. You don’t have to clap out of obligation — They’re really un-American.”
The ceremony hosted by Nick Kroll and John Mulaney was slick throughout, with the pair’s two-hander opening providing another Trump dig, opining that Robert Durst is somehow more likable than Trump in the popularity battle between the two New York real estate moguls.
Among the day’s winners, Robert Eggers’ The Witch was the only other multiple victor, for Best First Feature and Best First Screenplay for his breakout horror pic. Also picking up trophies ahead of Oscar night were Ezra Edelman’s documentary O.J.: Made In America, and the Germany-Romania co-production Toni Erdmann won Best International Film. Supporting awards went to an ebullient Molly Shannon for the cancer drama Other People, giving the night’s most memorable speech (ending with an SNL-inspired Mary Catherine Gallagher Superstar pose), and Ben Foster for Oscar Best Picture nominee Hell Or High Water giving that pic its only award today.
Despite La La Land‘s absence, the sometimes Oscar-indicative and always fun shindig under the tent on the beach included among attendees Netflix’s Ted Sarandos and daughter Sarah, Warren Beatty supporting spouse and nominee Annette Bening (who got some good-natured ribbing from Kroll and Mulaney in the opening remarks), jet-lagged director Ava DuVernay and Sony Pictures Classics’ Tom Bernard, the latter of who along with Michael Barker got a shout-out from Huppert from the stage during her acceptance speech.
Deadline’s Anthony D’Alessandro and Matt Grobar contributed to this report.
Here is the full winners list:
Moonlight Producers: Dede Gardner, Jeremy Kleiner, Adele Romanski
BEST MALE LEAD
Casey Affleck Manchester by the Sea
BEST FEMALE LEAD
Isabelle Huppert Elle
Barry Jenkins Moonlight
BEST SUPPORTING FEMALE
Molly Shannon Other People
ROBERT ALTMAN AWARD (Given to one film’s director, casting director and ensemble cast)
Moonlight Director: Barry Jenkins Casting Director: Yesi Ramirez Ensemble Cast: Mahershala Ali, Patrick Decile, Naomie Harris, Alex Hibbert, André Holland, Jharrel Jerome, Janelle Monáe, Jaden Piner, Trevante Rhodes, Ashton Sanders
BEST INTERNATIONAL FILM
Toni Erdmann (Germany and Romania) Director: Maren Ade
Moonlight Barry Jenkins Story By Tarell Alvin McCraney
JOHN CASSAVETES AWARD (Given to the best feature made for under $500,000)
Spa Night Writer/Director: Andrew Ahn Producers: David Ariniello, Giulia Caruso, Ki Jin Kim, Kelly Thomas
O.J.: Made In America Director/Producer: Ezra Edelman Producers: Nina Krstic, Tamara Rosenberg, Caroline Waterlow
BEST FIRST FEATURE
The Witch Director: Robert Eggers Producers: Daniel Bekerman, Jay Van Hoy, Lars Knudsen, Jodi Redmond, Rodrigo Teixeira
Moonlight James Laxton
BEST FIRST SCREENPLAY
The Witch Robert Eggers
BEST SUPPORTING MALE
Ben Foster Hell or High Water
Moonlight Joi McMillon, Nat Sanders
PIAGET PRODUCERS AWARD (Honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality, independent films. The award includes a $25,000 unrestricted grant funded by Piaget.)
TRUER THAN FICTION AWARD (Presented to an emerging director of non-fiction features who has not yet received significant recognition. The award includes a $25,000 unrestricted grant.)
Nanfu Wang Director of Hooligan Sparrow
KIEHL’S SOMEONE TO WATCH AWARD (Recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition. The award includes a $25,000 unrestricted grant funded by Kiehl’s Since 1851.)
The threat of a writers strike continued to mount today as the WGA held the last of 11 membership informational meetings in advance of next month’s negotiations for a new film and TV contract.
“We’re always ready for a strike,” a TV writer laughed as he left the meeting at the Beverly Hilton. “Television is in another Golden Age and the companies are reaping record profits, but writers aren’t sharing in that. Our incomes are going down, so it’s going to be a tough negotiation.”
“Writers deserve more and the companies can afford to pay it,” said another TV writer who attended the meeting, “and we may just have to fight for it.” As for a strike, he said: “I pray that there will not be one, but I fear that there will be one.”
“The general feeling is that everybody would prefer to work,” said another writer, “but given the companies’ profits and our declining wages, it’s now or never. This meeting was not a strike vote, but we have certain needs that have to be met. Nobody wants to strike, but we are willing to if we have to.”
“We are all standing strong for the union,” said another writer.
Another added: “We have a unified guild.”
Solidarity and the credible threat of a strike are certainly helpful going into any contract negotiation, and many of those interviewed today said they hope the companies recognize that they are united behind the union’s “legitimate” and “reasonable” demands, and will make a fair deal to avoid a strike.
Guild records show that “overall median earnings increased 17.4% between 2008 and 2014,” but guild leaders say that “the average income of members in both features and series TV have actually decreased over the (last) decade.”
There’s no doubt that Hollywood’s film writers have seen their wages steadily erode over the past two decades, largely due to a decline in the number of films being released. According to the WGA West’s annual reports, screenwriters earned less in 2015 ($362.1 million) than they did in 1996 ($364.4 million) – and that’s in real dollars. Adjusted for inflation, they collectively earned about a third less in 2015 than they did in 1996.
The guild’s records also show that in 2015, TV writers earned $803 million under the WGA West’s basic contract, for an average annual income of $194,478, which was $48,936 more than they made in 2006.
But those numbers are only based on guild minimums, and don’t include the moneys they make as writers employed in additional capacities, such as producers and executive producers. And that’s where TV writer-producers are taking it on the chin. Two recent guild surveys of its working members found a 23% overall decline in weekly compensation for series TV writer-producers from the 2013-14 season to the 2015-15 season – a downward trend that guild officials maintain has been going on for a decade as the TV industry continues to go through a major restructuring.
The leading cause for the downturn is the shortening of many shows’ seasons, with fewer episodes meaning fewer dollars for writer-producers. In years past, writers might be paid for 22 episodes strung out over 44 weeks, but it’s now not uncommon for seasons to last for only 10 or 12 episodes.
“Everybody agrees that television is changing and that the way writers are paid needs to change,” said a writer leaving today’s meeting. “Nobody wants a strike, and the union will do its darndest to get a fair deal.”
The guild’s ailing – and some say failing – health plan will be another key bargaining point when negotiations with management’s AMPTP begin on March 13.
The Academy’s Board of Governors rescinded a Sound Mixing nomination from Greg P. Russell for 13 Hours: The Secret Soldiers of Benghazi for violation of Academy campaign regulations, it was announced on Saturday. The decision, voted on Thursday, was made after they discovered that Russell had called his fellow members of the Sound Branch during the nominations phase to make them aware of his work on the film, which is a direct violation of a campaign regulation that prohibits telephone lobbying.
An additional nominee for 13 Hours: The Secret Soldiers of Benghazi will not be named in his place, and Gary Summers, Jeffrey J. Haboush and Mac Ruth will remain the nominees for the film.
“The Board of Governors’ decision to rescind Mr. Russell’s nomination was made after careful consideration,” said Academy President Cheryl Boone Isaacs. “The Academy takes very seriously the Oscars voting process and anything – no matter how well-intentioned – that may undermine the integrity of that process.”
According to the Board, they determined that Russell’s actions violated a campaign regulation that unequivocally prohibits telephone lobbying. It states that “contacting Academy members by telephone to promote a film or achievement is expressly forbidden, even if such contact is in the guise of checking to make sure a screener or other mailing was received.”
The nominees for Sound Mixing are:
Arrival Bernard Gariépy Strobl and Claude La Haye
Hacksaw Ridge Kevin O’Connell, Andy Wright, Robert Mackenzie and Peter Grace
La La Land Andy Nelson, Ai-Ling Lee and Steve A. Morrow
Rogue One: A Star Wars Story David Parker, Christopher Scarabosio and Stuart Wilson
13 Hours: The Secret Soldiers of Benghazi Gary Summers, Jeffrey J. Haboush and Mac Ruth
While pre-Oscar limousines squeezed in and out of the Peninsula and a political crowd rallied at UTA, an industry power player (who will remain nameless), was fretting over lunch about another problem on Friday: Will the coming months bring a Hollywood writers strike? And, more precisely, which companies will be most exposed if labor peace breaks down?
It’s too early to worry in any serious way about a possible strike by the Writers Guild of America, East and West. Contract negotiations between the guilds and the Alliance of Motion Picture and Television Producers won’t begin until March 13, and the current contract with movie and television writers runs until May 1.
When it comes to union politics, three months is an eternity. Anything can happen.
But this particular power player, a top-tier executive, was mulling a point best considered early by all parties to the talks. Hollywood’s business structure, he noted, has changed radically since the 100-day writers strike that began in early November of 2007. If push comes to shove, the pressure points will be much different this time around — and how the new dynamic will work is far from clear.
The producers alliance, according to its website, negotiates contracts for about 350 companies, give or take. But the heaviest issues are decided by no more than a couple dozen large networks and studios, with sub rosa input from the major talent agencies who are not members, but inevitably become a conduit between companies and writer-clients. The last strike was settled in February of 2008, partly through a back-channel foray that involved the Endeavor agency’s Rick Rosen and one of his writer clients, Laeta Kalogridis.
In 2017, noted the mulling executive, the member companies have become far more divergent in their structure and strategic posture than they were even in 2007, when trends toward conglomeratization and digital transition were well underway.
Some corporations — Lionsgate, CBS, and perhaps Viacom — the executive theorized, are in a fairly conventional position when it comes to a possible strike: They are heavily invested in the production and distribution of entertainment, and hence, heavily exposed to any shutdown. Their reflexes, one guesses, would mirror the flight-or-flee responses of companies in past labor crises.
For others, by contrast, entertainment is an ever-smaller part of the overall corporate equation, perhaps making it easier for a parent to ride out a strike. If Time Warner and AT&T complete their merger, the Time Warner operations are expected to account for just 15 percent of what might approach $200 billion in combined revenue. At Warner, a couple of rungs down the corporate ladder, chief Kevin Tsujihara might not feel quite the same urgency his predecessor, Barry Meyer, brought to the 2007-8 negotiation.
At Universal, a huge company, General Electric, was already an owner in 2007; but this time, Comcast, a cable giant with different priorities, will be calling the final shots. At Fox, Peter Chernin, a force in settling the last strike, is long gone, and controlling shareholder Rupert Murdoch has increasingly left strategic issues to his sons — how they will respond to a labor crisis is anyone’s guess.
The foreign factor is also different. Sony Corp. already owned Columbia Pictures and associated units in 2007. But Sony’s current chief executive, Kazuo Hirai, is suddenly much deeper in the mix: He has said he will be spending time in Culver City every month, even as the strike deadline nears. And now, of course, Chinese owners and investors are a presence at Legendary and elsewhere.
Similarly, on-line distribution brings new owners and a new equation. Amazon, with some $136 billion in annual revenue, might not bat an eye if its Amazon Studios were forced to shut down for a while. Netflix, without the luxury of a large retail-oriented parent, would be more exposed, but might fill its maw by purchasing programs abroad, the executive said.
And what of those sub rosa brokers, the agencies? Now, the two biggest agencies, William Morris Entertainment and Creative Artists Agency, are deeply invested in sports — which, for them, should lessen the impact of a Hollywood strike. But they are also beholden to new investors, Silver Lake and TPG, respectively; and those new owners might not be happy with a jolt to their financial projections or disruption of any plans to sell public stock.
How this game plays out is still an imponderable. But it won’t be a replay of 2007.
Love or hate Suicide Squad, most audiences adored Margot Robbie as Harley Quinn. So much so, in fact, that she is getting her own spin-off movie called Gotham City Sirens. This next adventure will likely show Daddy’s Little Monster in a variety of getups, including her Clown Jester costume, which was only briefly seen in Suicide Squad. But it appears the actress had a couple other outfit changes that got nixed from the initial mix in that first movie.
A new behind-the-scenes photo arrives today from Chinatimes courtesy of Twitter. And it offers a glimpse at one of the many rumored deleted scenes that didn’t make the cut when it came time to release the Blu-ray. This image shows Harley in what appears to be a Prom dress in her signature red and blue colors. This is the quote that came tagged with the image.
“NEW BTS photo from the set of #SuicideSquad: Margot Robbie with makeup artist Alessandro Bertolazzi”
You can see this image in the tweet embed below. The make-up being applied to Harley’s face makes Quinn look like she’s just gotten through one heck of a crying jag. She’s also given quite the unique hairdo. It’s anyone’s guess what happened in this particular scene. But with the outfit already tailored and so far unused, it’s possible that we could see this look show up in Gotham City Sirens.
Though Suicide Squad came out last summer, we’re still being treated to fun surprises like this. And it is well known that quite a few scenes where shot but later excised from the final cut of the movie. And those scenes have never seen the light of day. Not yet, at least. The dress in question was probably used for a flashback sequence, as Harley spends most of her Suicide Squad runtime in short-shorts and a satin swingers jacket.
While Harley Quinn will next be seen on the big screen in Gotham City Sirens, Suicide Squad 2 is also happening at Warner Bros. Original Suicide Squaddirector David Ayer is back in the hot seat for GCS, but it sounds like Warner Bros. and DC want someone else in control of SS2. And that person might well end up being Mel Gibson, who the studio is currently courting. After a short ‘falling out’ with Hollywood, Gibson redeemed himself with the Oscar nominated hit Hacksaw Ridge. It hasn’t been confirmed that he is part of the DCEU family just yet.
At this point, it is unclear if Warner Bros. will ever release all the footage they have sitting in the vault from Suicide Squad. They did release a director’s cut last year, but it only replaced roughly 13 minutes of missing footage. Some reports indicate that there is at least an hour’s worth of deleted scenes that fans have yet to see. While we wait for more Harley Quinn goodness, at least we have this image to stare at and wonder, ‘What is going on here?’
NEW BTS photo from the set of #SuicideSquad: Margot Robbie with makeup artist Alessandro Bertolazzi pic.twitter.com/LECGOWmi2g
— Margot Robbie Daily (@MargotRobbieRus) February 25, 2017
By now, if you’re a Marvel fan, you well know that the Guardians of the Galaxy are showing up in Avengers: Infinity War. And you probably also know that Michael Rooker’s Yondu becomes an official member of the Guardians in Vol.2 , hitting theaters this summer. So it should stand to reason that Rooker will be part of the massive ensemble cast of Infinity War. Right? Well, we don’t have confirmation from Marvel or Disney, but the man himself has offered one big hint that he will return in the next Avengers movie.
Michael Rooker recently shared two photos on Instagram that all but scream that he’s returning in Avengers 3. As we know, the movie is currently shooting in Atlanta. Now, we know that Rooker is also in Georgia. And that he has an official Infinity War beanie. We also have proof that he was back in the blue make-up just hours ago on this fine Saturday.
The first image Rooker shares has the actor in a coffee shop posing with a couple of Starbucks employees. That might not give away that he is suiting back up as Yondu. But his post, indicating his location, sure does. He says this.
“Having a great morning so far at my lovely local Starbucks in Peachtree city Georgia…..ShitYes!!!”
But it’s the next image that is the real giveaway. Though we don’t see his face, we do see that Rooker is back in is blue make-up this weekend, coinciding with the Infinity War shoot. And there are no Guardians of the Galaxy 2 reshoots going on at the moment. In the image, Rooker is showing off something that is the same hue as his alien alter ego. He says this.
“GOT ROCK CANDY?”
There is no context given for the quote. And we can only guess at it’s meaning. Earlier in the week, Rooker also posted a very cool image of a Guardians 2 standee, which serves as a couch that fans can take their picture on alongside himself and Chris Pratt as http://movieweb.com/guardians-galaxy-2-cooler-opening-credit-sequence/Star-Lord, and the rest of the Guardians.
The cast for the movie is quite epic and features MCU stars such as Josh Brolin (Thanos), Chris Hemsworth (Thor), Sebastian Stan (Bucky/Winter Soldier), Scarlett Johansson (Natasha Romanoff/Black Widow), Jeremy Renner (Clint Barton/Hawkeye), Chris Evans (Captain America/Steve Rogers), Elizabeth Olsen (Wanda Maximoff/Scarlet Witch), Samuel L. Jackson (Nick Fury), Paul Rudd (Scott Lang/Ant-Man), Paul Bettany (Vision), Chadwick Boseman (T’Challa/Black Panther), Mark Ruffalo (Bruce Banner/Hulk) and Robert Downey Jr. (Tony Stark/Iron Man), Chris Pratt, (Star-Lord), Zoe Saldana (Gamora), Dave Bautista (Drax the Destroyer), Karen Gillan (Nebula), Vin Diesel (Groot), Bradley Cooper (Rocket Raccoon), Benedict Cumberbatch (Doctor Strange), Benedict Wong (Wong) and Brie Larson (Captain Marvel). Also appearing in the movie is Tom Holland, who plays Spider-Man.
The first scenes shot for Infinity War included some, if not all, of the Guardians of the Galaxy. It is believed that this part of the shoot happened early as Chris Pratt is needed on the set of Jurassic World 2 in the next couple of weeks. Also already shooting scenes for Infinity War are Robert Downey Jr. and Tom Holland. Two weekends ago, Marvel announced the Infinity War production start. Now, you can take a look as the production continues.
Newer fans might not realize this, but E.T. is officially part of the Star Wars canon. At least his extraterrestrial race is. And now, a fan theory claims to have proof that E.T. was a Jedi stranded far from home. This theory has been around for a little while, and you can’t put too much weight behind these things. But it is fun to imagine that it might be true, as it doesn’t really wreck or ruin the story in either the Star Wars franchise or E.T. itself.
Film School Rejects helps flush out this fan theory a little bit more, giving some definitive proof that E.T. might have once wielded a lightsaber before winding up on Earth with Elliot and his family. It’s well know that E.T. the Extra-Terrestrial director Steven Spielberg and George Lucas are friends and collaboraters, having developed the Indiana Jones franchise together. And they often visit each others’ sets. And it is believed that Spielberg often discussed the making of E.T. with Lucas before the little alien stepped in front of a camera for the first time.
There are two key Star Wars Easter eggs in E.T. The first shows Elliot playing with Hammerhead and Greedo action figures. The second is more obvious. While out trick or treating, E.T. spots a kid dressed as Yoda walking down the street. Upon sight of Yoda, E.T. runs towards the Jedi Master calling out, ‘Home!’
At the time of its release in the summer of 1982, this was just a funny joke that got a big laugh in theaters. But now we know that, perhaps, there is something more substantial at stake here. In the 1999 Star Wars prequel The Phantom Menace, E.T.’s alien species was part of the Galactic Senate, thus making E.T. part of the official Star Wars cinematic cannon that is in place today. As the theory goes, any member of the Galactic Senate would know who Yoda was, as he often addressed the Chamber, making his presence as a Master Jedi well known.
The fact that Star Wars iconically takes place a long time ago in a galaxy far, far away indicates that Yoda has been remembered for millennia after his demise as an important person in this era. It’s also theorized that, because we haven’t really seen Yoda’s species in future movies, or even know the name of his species, that Yoda’s people still exist, and E.T. knows this particular brand of alien. If we look past the quick joke of E.T. calling out home when he sees Yoda, it’s possible that in this particular universe E.T. does in fact know what a Yoda is.
Yoda and E.T. come from the same point of origin in the official Star Wars canon. And we know that Jedi Knights can be any variety of alien species. So it’s not to big a leap to assume that at least one of E.T.’s ancestors was a Jedi. And who’s to say that in this galaxy far, far away that Jedi aren’t thriving in the era we know as the 80s? We haven’t seen the Last Jedi yet. That sequel might explain it all. E.T. could very well be a modern day Jedi. And that would explain why he has some of the powers he displays in the Spielberg movie. Such as bringing dead flowers back to life. Or being able to levitate and make Elliot’s bicycle fly across the night sky.
As the fan theory goes, it appears that E.T. does have force powers. So even if he’s not a Jedi, perhaps he’s Force Sensitive. Because, looking deeper into this, can you name a non-Jedi in the Star Wars universe that ever made dead things come back to life, or fly? Granted, we haven’t been fully introduced to every alien in the Star Wars universe, but this is grounds to explore this theory even further.
This being a fan theory, it shouldn’t be taken as gospel. There is no definitive proof that E.T. is a Jedi until either George Lucas or Steven Spielberg step out of the shadows and declare this to be true. They are the keepers of the mythology, after all and have the final say. E.T. is not a character that is owned by Disney and LucasFilm, so for now, we doubt he’ll show back up in a future movie, book, or TV show. But if Speilberg gave them the okay, it could happen.
E.T. came out 35 years ago. And while there was a novel sequel, there has never been a movie follow-up. And a E.T. remake is out of the question until Spielberg passes away, at least. So we may never know the answer. Until that happens, we can watch E.T.’s reaction to Yoda and wonder, is this extraterrestrial really a Jedi?
There has been a slight delay in the production start date for Deadpool 2. But it’s probably for the best. The sequel doesn’t have a firm release date in place, and it appears that everyone involved wants the best movie possible, so they’re not rushing anything. Ryan Reynolds and his writing staff are still hammering the final nails into the script, and if all goes according to plan, the show will hit the road this June.
Ryan Reynolds spent nearly a decade trying to get Deadpool into theaters after the much maligned X-Men Origins: Wolverine showed the character in a not so fan friendly light. Now that the first movie is considered a phenomenon and an anomaly in the superhero genre, it’s not hard to imagine that he doesn’t want to screw up this next installment. There is a lot riding on Deadpool 2, and it’s not being handled lightly, as everyone saw with the departure of original director Tim Miller, who reportedly left over creative differences.
Deadpool 2 has not had an easy pre-production process. And it hit a huge speed bump when it had to go searching for a new director, which it found in John Wick’s David Leitch. It was then announced this past week that former Daredevil showrunner Drew Goddard had arrived at the Deadpool offices to help Reynolds and his writing team of Paul Wernick and Rhett Reese bring the script to the finish line. The sequel was confirmed to start production this summer. That’s still happening. Just not as early as everyone thought.
The Directors Guild of Canada reveals that Deadpool 2 will shoot from June 19 until September 18, giving the filmmakers three months to capture all the excitement and action they need to lockdown. This production start date is now pushed a month and a half later than previously reported. It is speculated that Goddard’s help in polishing the script is the main reason for the slight delay.
Reynolds and his team now have roughly 4 months to go over and rework the script. They also have quite a bit of time to finalize their casting. Ryan Reynolds is the only actor confirmed for the sequel. It is rumored that Pierce Brosnan is playing Cable, and Scandal star Kerry Washington is said to be up for Domino, though later reports claimed that was false. The actress played coy when asked directly about her involvement, though she strongly hinted that she’s love to be a part of the movie.
Producer Simon Kinberg recently said that Fox wants Deadpool 2 in theaters by 2018. And it is targeting a March release date. Though, the studio has yet to confirm this. if this production schedule plays out as reported, it will give the team six more months for post, which is enough time to get it all done. Some major Deadpool 2 announcements are expected after Logan lands in theaters next month.
It’s the Saturday before Oscars. And that can mean only one thing! Yes, this year’s Razzie Award winners have been announced. The crop of cinematic crap in 2016 was so extensive that this year’s 37th Annual Razzie Awards expanded from 5 nominees to an unprecedented 6 contenders in each of its 9 Worst Achievement in Film categories. Leading this year’s list of movie-misfires were the 15-years-too-late sequel Zoolander No. 2 and the WTF comic book battle-royale Batman v Superman: Dawn of Justice. Each was up for both Worst Picture and Worst Prequel, Remake, Rip-Off or Sequel. Other Worst Picture nominees include Dirty Grandpa, Gods of Egypt, Hillary’s America and Independence Day: Resurgence.
Many expected Batman v Superman would take Worst Picture of the year. But it failed to live up to even that hype, proving it can’t catch a break. Instead, the Worst Picture Award went to a truly despicable piece of tabloid cinema known as Hillary’s America. And it was able to sweep a few other categories as well.
Acting contenders included Ben Affleck, Johnny Depp, Julia Roberts and Robert de Niro. But thanks to the complete list of winners at Razzies.com, we see that documentarian Dinesh D’Souza won Worst actor portraying himself in Hillary’s America. And Becky Turner, who played the lead role in The Secret History of the Democratic Party, took worst actress portraying Hillary Clinton. This is perhaps a good thing. Had Ben Affleck won worst actor for Batman V Superman, it could have been the straw that broke his proverbial back, and we might have actually seen him walk away from The Batman for good.
The “Winners” of this year’s tackiest Tinsel Town trophy were revealed this morning, Saturday, February 25, the now traditional day before the 89th Annual Giving Out of the Little Gold Naked Men. It hadn’t been revealed who was nominated for the Razzie’s newest award, the Razzie Redeemer Award at the time nominees were announced. But we now know it was 2014 Worst Supporting Actor nominee Mel Gibson, who redeemed himself with his Oscar-nominated direction of Hacksaw Ridge.
First introduced in 2014, the Razzie Redeemer Award goes to the former Razzie winner who has gone on to redeem his or her self through good movies. Ben Affleck won the first award in 2014, for his recent work in Argo and Gone Girl, although he was nominated again this year for Batman v. Superman: Dawn of Justice. Sylvester Stallone won the award last year, after his comeback performance in Creed which won him a Golden Globe award and an Oscar nomination.
Other “top” winners this year included Kristen Wiig, who wasn’t nominated for Ghostbusters, but instead roped in her first Razzie for Worst Supporting Actress in Zoolander No. 2. Jesse Eisenberg won the Worst Supporting Actor trophy for his turn as Lex Luthor in Dawn of Justice. Ben Affleck and Henry Cavill did manage to lockdown an award for Worst Screen Duo, as Batman and Superman in Dawn of Justice. And the movie earned the Worst Prequel, Remake, Rip-Off or Sequel award. It also took home the Worst Screenplay trophy.
Voting Razzie Members (1,014 from 49 US States and 24 countries) selected contenders in 8 of our 9 categories. For Worst Screen Combo, The Razzies partnered again with Rotten Tomatoes where tens of thousands of users picked the nominees. Take a look at the full list of Razzie nominations below, with all of the winners revealed with a star.
WORST SUPPORTING ACTRESS
WORST SUPPORTING ACTOR
WORST SCREEN COMBO
WORST PREQUEL, REMAKE, RIP-OFF or SEQUEL
Alice Through the Looking Glass
Batman v Superman
Fifty Shades of Black
Independence Day: Resurgence
Teenage Mutant Ninja Turtles: Out of the Shadows
Zoolander No. 2
Batman v Superman
Gods of Egypt
Hillary’s America: The Secret History of the Democratic Party
Independence Day: Resurgence
RAZZIE REDEEMER AWARD
2014 Worst Supporting Actor nominee Mel Gibson, for his Oscar-nominated direction of Hacksaw Ridge