Sundance Film Festival: London has announced the full program for its upcoming edition in June and has set Casey Affleck and Rooney Mara starrer A Ghost Story, directed by David Lowery, to close the event.
The fest, which will take place in London’s Picturehouse Central cinema from June 1-4, will present 14 feature films direct from this year’s Sundance Film Festival in Park City including the UK premiere of Lowery’s critically acclaimed film and the previously announced international premiere of Miguel Arteta’s Beatriz at Dinner with Salma Hayek, the latter of which will open the festival.
Additional titles screening during the four-day event include: the international premiere of Kumail Nanjiani’s The Big Sick, which Amazon scooped up for a cool $12M in Park City in January; Jeff Orlowski’s doc Chasing Coral, which won the U.S. Documentary Audience Award; U.S. Dramatic Audience Award winner Crown Heights, written and directed by Matt Ruskin; U.S. Grand Jury Prize Documentary winner Dina; Bryan Fogel’s Icarus, which nabbed the U.S. Documentary Special Jury Award; and Alfred P. Sloan Feature Film Prize winner Marjorie Prime.
There will also be an international premiere for Marianna Palka’s Bitch; UK premieres for Woody Harrelson starrer Wilson and Dave Bautista starrer Bushwick; and European premieres for The Incredible Jessica James and Walking Out. Additionally, for the first time this year, the festival will feature a surprise film.
Continuing the focus of the four previous London editions on presenting new work by emerging established independent filmmakers, the 2017 festival will also include a short film program with 15 shorts, including a new strand dedicated to new UK shorts. The fest will also introduce an Audience Favorite Award for 2017, giving festivalgoers a chance to vote for their favorite features.
There will be three panel events: the Independent Film Trumps Reality panel, which will examine indie filmmaking in the current political climate; On Collaboration: Documentary Practices and Process, which will explore themes of diversity and accessibility; and the Art vs. Stepping Stone short filmmaker panel. Lowery will also participate in an “In Conversation” panel.
“As we head into our fifth festival in London, we remain committed to introducing new American independent films to audiences around the world,” said Redford. “Our success in the UK is a reflection of the enormous creativity of independent artists and stories they tell, as well as the curious and adventurous audiences who have made us feel right at home in the heart of London.”
Directors’ Fortnight has added a special screening title to its lineup for this year’s event which kicks off at the Cannes Film Festival next month. The Nothing Factory, by Portugal’s Pedro Pinho, is described as a riff on the subject of industrialization, unemployment and the workers’ struggle. Fortnight chief Edouard Waintrop calls it “a highly original film oscillating between intimate drama, social realist comedy and the occasional musical number.” Pinho is also a cinematographer whose credits include 2008’s Bab Septa and 2013’s Un Film Du Mundo.
The Karlovy Vary International Film Festival is set to honor composer James Newton Howard with its Crystal Globe for Outstanding Artistic Contribution to World Cinema. An opening ceremony concert will be conducted by the Oscar and Golden Globe nominee, and Grammy and Emmy winner, with music from Fantastic Beasts And Where To Find Them performed by the Czech National Symphony Orchestra. Also receiving special Crystal Globes at the 52nd KVIFF are directing/screenwriting collaborators Ken Loach and Paul Laverty whose I, Daniel Blake won the Palme d’Or in Cannes last year. Among other honorees is filmmaker Vaclav Vorlicek who is receiving the President’s Award for Artistic Contribution to Czech Film. Further, the fest will world premiere the digitally-restored version of 1966 Oscar winner The Shop On Main Street by Ján Kadár and Elmar Klos. KVIFF runs June 30-July 8.
FremantleMedia has acquired a 25% stake in UK indie Duck Soup Films. Formed by producers Libby Durdy, Bekki Wray-Rogers and Jessica Holyland whose credits include This Is England and Utopia, the Yorkshire-based company works across TV and film. It has won the BFI Vision Award and has received investments from Creative England and Channel 4. Fremantle has made a series of investments over the past 18 months including in such outfits as Gurinder Chadha’s Bend It TV, Abot Hameiri, Naked Entertainment and Man Alive Entertainment.
Meghan Lyvers has been named SVP, Co-Productions and Development, CBS Studios International. In her new post, Lyvers will relocate to the company’s EMEA headquarters in Amsterdam, reporting to Armando Nuñez, President and CEO, CBS Studios International, and David Stapf, President, CBS Television Studios. Lyvers, formerly a senior programming executive at CBS Television Studios, will develop opportunities in both the U.S. and the international market. She joined CBS as SVP Drama Development in 2014, working on such series as MacGyver, Bull and Crazy Ex-Girlfriend. Her other posts include as producer at Management 360 and VP Development and Production at Tribeca Productions.
Lenny Henry’s UK-based production company Douglas Road has optioned debut novel My Name Is Leon by Kit de Waal. The plan is to turn the uplifting 1980s-set story into a TV film. The book has been shortlisted for several prizes including the Costa First Novel Award. It won France’s Plume de Bronze Award for Fiction. Henry discovered the story, about a nine-year-old who finds a new family where he least expects it, when recording the audio book. Douglas Road was formed by Henry and BAFTA-winning producer Barbara Emile and in 2015 became part of the Endemol Shine Group.
Henrik Bastin, CEO of Bosch producer Fabrik Entertainment, has extended his contract with the Red Arrow Entertainment Group subsidiary in a multi-year renewal. The LA-based Fabrik was Red Arrow’s first strategic investment into the U.S. scripted market back in 2011, and Bastin has led the business since. Season 3 of Bosch, the adaptation of Michael Connelly’s best-selling book series, launched its third season on Amazon last week, and a fourth is on deck.
Bastin previously founded Swedish production outfit STO-CPH which he sold to Shine in 2007. He remained as CEO and Creative Director until 2010 before becoming partner at Fabrik Entertainment.
Fabrik is currently in development on a number of projects including drama pilot The Deep Mad Dark for TNT; an FX series based on the award-winning book Ancillary Justice; The Limit for AMC; and Midnights for USA. This summer, it’s also going into production on Embassy Down, a thriller written by Anders Frithiof August and co-produced with Red Arrow International and MTG Studios.
Red Arrow Entertainment Group Chairman & CEO Jan Frouman credits Fabrik with putting Red Arrow “on the map” in the U.S. scripted business and says it has “served as an amazing catalyst” for the international distribution business. “None of that would have been possible without Henrik. The guy is a force of nature — relentlessly fighting for the success of the business. Fabrik couldn’t be in better hands.”
Fabrik’s previous credits include The Killing (AMC), Burn Notice (USA), American Odyssey (NBC), 100 Code (HBO Nordic) and The Comedians (FX).
Eggsy is back! After giving us one of the more clever trailer teases in recent memory, 20th Century Fox has released the first full-length trailer for Kingsman: The Golden Circle. The trailer tease packed a whole bunch of sped up footage into a narrow, 10-second window, but now we can see the actual trailer for Kingsman 2 in all of its glory. Manners maketh man, and those well-mannered men (and women) also make for a great trailer for what is hopefully an equally great sequel.
20th Century Fox finally decided to release this first trailer for Kingsman: The Golden Circle online after a string of other promotion for the highly-anticipated sequel. Some footage was shown recently to those in attendance at CinemaCon and the reaction to what was shown was largely positive. That got some buzz going and then Fox released some new photos of Halle Berry, Channing Tatum and Jeff Bridges before releasing the recent trailer tease. That left only one thing, which is the trailer we can now enjoy over and over again until the movie finally hits theaters. Here is the official synopsis for Kingsman: The Golden Circle.
In Kingsman: The Golden Circle, the Kingsman headquarters is destroyed and the world is being held hostage. That leads the spy’s we came to know and love in the first movie on a journey to discover a spy organization in the U.S. called Statesman, which dates back to the same day the Kingsman were founded. The new adventure will push the agent’s to their limit, but the two secret organizations manage to band together to try and defeat a new common enemy in order to save the world.
Kingsman: The Secret Service was released in 2014 and wound up being a pretty big surprise hit. The movie grossed $414 million worldwide, which is really good when you consider that this isn’t a property the general public was familiar with and that it earned a hard R-rating. The movie also did well with both fans and critics, earning a 74 percent approval rating from critics on Rotten Tomatoes and an 84 percent audience rating. Considering that Matthew Vaughn opted to do Kingsman instead of X-Men: Days of Future Past, it shouldn’t be all that surprising that the end result was something pretty special. That has set expectations quite high for Kingsman 2, but there is no reason to think that Matthew Vaughn won’t be able to deliver. Especially considering all of the impressive new additions to the cast this time around. The excitement is only going to be heightened even more with the release of this first trailer. Let’s just hope the movie can actually deliver the goods.
The cast for Kingsman 2 includes Taron Egerton, Mark Strong, Colin Firth, Sophie Cookson, Pedro Pascal, Channing Tatum, Julianne Moore, Jeff Bridges, Halle Berry and Elton John. The movie was directed by Matthew Vaughn, who co-wrote the script with Jane Goldman. Kingsman: The Golden Circle is set to hit theaters on September 29. Be sure to check out the trailer for yourself below.
This Saturday marks Donald Trump’s 100th day in office, or how The Daily Show’s Trevor Noah called it on Monday night’s episode, “for us 15 years, but we’re all living in Trump time so it’s 100 days.”
Calling it an “early milestone of presidential success,” Noah showed clips of former presidents Barack Obama, George W. Bush, Bill Clinton, George H. W. Bush and Lyndon B. Johnson talking about the success they had in their First 100 Days in office. Adding that Trump has ignored a lot of presidential traditions, Noah noted how Trump was “all about the 100 days” when he was campaigning, yet has fallen short on all of his promises.
“I bet Trump is one of those people who makes too many New Year’s resolutions, you know” Noah quipped. “January first, I start my diet, sign up for pilates, I finally face my biggest fear, making eye contact with my son Eric. That guy gives me the creeps,” he said in his best Trump impression.
Noah continued by naming all the things that Trump has been unsuccessful in doing like getting his travel ban approved, repealing Obamacare and how no one wants to pay for the wall.
“And if you’re a Trump supporter you may be saying, ‘Well at least he tried. Doesn’t that count for something?’ No, it doesn’t. It really doesn’t,” he said proceeding to explain how a Boy Scout doesn’t get his badge for trying to help an old lady cross the street. “They either help her across or she gets crushed by an 18-wheeler. That’s how it works.”
With the 100th day mark approaching, Trump has decided to “moved the goal post” and say that the 100th day mark doesn’t apply to him.
“Donald Trump can’t suddenly say that 100 days is an arbitrary number because he ran on the 100 days during the campaign,” Noah explained. “You don’t get to just disregard the number because you don’t like the current results. Because if most voters in America got to choose the number they preferred,” he said, showing the popular vote total with Hillary Clinton almost 3 million votes ahead, “Well, you wouldn’t be in the White House, Donald.”
Noah Baumbach’s new film, The Meyerowitz Stories, stars Dustin Hoffman as the aging father of adult children. Hot on the heels of its acquiring by Netflix (reported exclusively here) and winning a slot in the competition at Cannes, the celebrated actor sat down with the writer-director for a conversation before a crowd tonight at the Tribeca Film Festival. Usually, of course, it’s Hoffman who’s being interviewed; for an hour or so, the roles were reversed, as he prodded Baumbach about a career that includes The Squid and the Whale (2005) and Frances Ha (2012) – while getting in a few good stories of his own.
When Hoffman asked what film had been most difficult for him to make, Baumbach answered, after a pause, that it was his second film, Mr.Jealousy. For his first film, Kicking and Screaming, he’d had the good fortune of knowing nothing about how to make a movie.
“With a career, you sort of learn how you’d do it instead of how you’re told it’s done,” he said, recalling a producer telling him that “there’s a tradition in editing a film” that when someone walks through a door, you don’t need to show the person walking down the hall and over the threshold, walking into the room and closing the door; you can cut. “What I thought was, the movie is about walking into the room.”
That prompted Hoffman to recall that when Barry Levinson was directing his first film, Diner, he got a note from a studio suit saying, “you know, when you have a character say ‘pass the mayo,’ ‘pass the ketchup,’ you repeat it over and over…why don’t you just cut the movie so that each request like that is done once – and get on with the movie?’ And Barry said, ‘That is the movie.’ “
They scrapped a little about the issue of actors making slight changes to lines. Actors “have to stay with what’s been written,” Baumbach said, in order to get to what the film is about. “Did you find that when we worked together?”
“Well, when we worked together, it was only the second time in 50 years that I worked with a director…” Hoffman said, before taking his own pause, “you want an honest answer?” “Yes!” Baumbach said. “…where a director wanted me to say every. single. word. that was on the page. And the last time that happened, it was The Graduate. The script supervisor would come up to me after the take and say, ‘That’s not a period, those are three dots.’ And your script supervisor did the same fuckin’ thing.”
“But we had so much fun,” Baumbach said.
“Yes,” Hoffman replied, absent inflection.
Hoffman asked about the level of autobiography present in The Squid and the Whale, and Baumbach grew thoughtful, admitting that he’d used many details from his life, including his parents’ divorce, shooting at his own high school and Brooklyn neighborhood – and the fact that Jeff Daniels wore the writer-director’s father’s clothes, all of which helped him “access something raw and personal and emotional.”
“But it wasn’t about trying to re-create my life,” he continued. “It was about doing something new while using all these pieces that I understood.”
Perhaps the best story came in Hoffman’s response when an audience member said that his favorite line was “I’m walking here!” Apparently no one in the assembly needed to be told it was Ratso Rizzo’s from Midnight Cowboy.
Working on a tight budget in the John Schlesinger film, he and Jon Voight were walking down Sixth Avenue, Hoffman recalled, as a van with a hidden camera followed them, taking in people on the street, synchronizing with the traffic lights and doing “take after take after take.”
“And we finally get it after the 50th take and we’re so happy at this point in the dialogue, Jon and I, and we’re at the corner and the light turns green and we’re able to keep walking, and a fucking cab…” he paused until the laughter died down, “And the truth is, this is the way the brain works. What I had in my head was, ‘We’re making a movie here!’ but I couldn’t say that. So the brain changes it to, ‘I’m walkin’ here!.’ But really what was said from me was, ‘We’re shooting here!’ “
Last month, Warner Bros. released the epic blockbuster Kong: Skull Island, which not only explored the home island of the iconic King Kong, but also set up an expanded universe that connects to the studio’s 2014 hit Godzilla. While Michael Dougherty has come aboard to direct Godzilla: King of Monsters (March 22, 2019), the follow-up Godzilla vs. Kong (May 29, 2020) doesn’t have a director, but it seems that Kong: Skull Island director Jordan Vogt-Roberts is not interested in making another monster movie.
When Kong: Skull Island opened last month, it was a hit with critics, with a 77% Fresh rating on Rotten Tomatoes, and with fans alike, earning $163.9 million domestically and $559 million worldwide from an $185 million budget. During a chat with Screen Junkies News, director Jordan Vogt-Roberts was asked if he would like to take the helm for the follow-up Godzilla vs. Kong, but the filmmaker stated that he was done with monster movies. Here’s what the director had to say, while praising the studio for letting him make the movie he wanted to make in what has become known as the MonsterVerse.
“I think I’m done with giant monsters for a little bit. Look, I’m really proud of this world, and I’m super proud of, I think in general, and this is out there too, the response being ‘Why do we need a new Kong movie?’ and that was my response. I’m really proud of how weird this movie is and how much people embraced that stuff and actually called out how strange the movie is, and I wanted it to have a voice. I’m so proud of what we did and how I think it is very non-traditional blockbuster in 2017 and I’m so proud of what Legendary and Warner Bros. and those guys allowed me to do and the collaboration we had, but I definitely don’t think I got Kong vs Godzilla in me. You never say never, I’m so proud of the Kong we made and the vibe of him and the energy of him and the vibe of the creatures on the island and everything, but yeah it would be tough for me right now.”
Jordan Vogt-Roberts signed on to direct in 2014, fresh off his feature directorial debut, the 2013 indie hit Kings of Summer, following a path that many indie filmmakers before him had, such as Colin Trevorrow, who went from the low-budget Safety Not Guaranteed to Jurassic World and Gareth Edwards, who parlayed his indie hit Monsters into directing the 2014 blockbuster Godzilla. Warner Bros. and Legendary have already set up a Godzilla and King Kong writers room, and when asked if he’s stepping away because it’s challenging to make a film in such a big universe, the filmmaker had this to say.
“I was very loud, and probably very annoying, about saying, halfway through these (shared universe) movies, there’s a 15-minute departure, trying to set up a movie that comes out in four years. It’s just such a bummer to me. I was very loud about saying, this is not just about this franchise and this universe, we’re playing with King Kong. King Kong is film history. There are a bunch of people who will show up to this movie that have no interest in Godzilla vs. Kong, have never seen Godzilla, and Kong is film history. Yeah, there is a ton of stuff in the movie that sets up the worlds and merges them, but I am proud and very thankful to the studios that they let us try to make something as self-contained as possible.”
Aside from Godzilla: King of Monsters and Godzilla vs. Kong, no future movies have been confirmed yet, but with a writers room already set up, there will most likely be more movies on the horizon after Godzilla vs. Kong hits theaters in 2020. Michael Dougherty and Zach Shields (Krampus) are both writing Godzilla: King of Monsters, with Michael Dougherty directing and both writers leading the writers room. While we wait for more on Godzilla: King of Monsters and Godzilla vs. Kong, take a look at Kong: Skull Island director Jordan Vogt-Roberts’ interview below, with the Godzilla vs. Kong talk coming at the 18:06 mark.
As we get closer and closer to the July 7 release of Spider-Man: Homecoming, anticipation is higher than ever, and while we still have a few months to wait, a hilarious parody mashes up Spidey’s world with the unique visual style of the music video for the Bruno Mars song “That’s What I Like.” The original video, which you can also see below, simply features Bruno Mars singing and dancing, while various objects are drawn in around him. This parody features a dancer in a full Spider-Man costume, complete with the yellow school blazer Spidey’s seen wearing in the Spider-Man: Homecoming poster.
Nerdist debuted this video earlier today, which comes off the heels of their Beauty and the Beast parody “Belle and Boujee,” which spoofs the hit Migos song “Bad and Boujee.” This video features prolific dancer Ben Carter as Spider-Man, in a routine he choreographed himself. The new song lyrics, written by Andrew Bowser, Erik Kozura, Jason Nguyen, Joan Ford, with vocals by Jay Long, feature plenty of references to the Spider-Man: Homecoming story, including a few shout-outs to Tony Stark and the events of Captain America: Civil War. Here’s the official description for this spoof video below.
“Sometimes you just have to take a moment to appreciate the finer things, especially when you’re living That Spidey Life. In this music video parody of Bruno Mars’ “That’s What I Like”, Spider-Man sings a smooth pop anthem about all the stuff that makes life worth living, but instead of limos and lobster tails he’s talking about web slinging and wall crawling. And just like Bruno, Spidey has his eye on a Manhattan penthouse, but the one he wants is in the Avengers Tower. Bringing in elements from both classic Spider-Man stories and the upcoming Spider-Man: Homecoming feature film, this video from the makers of Belle and Boujee is the perfect soundtrack for anyone just trying to live That Spidey Life.”
We’ve seen in the Spider-Man: Homecoming trailers released thus far that Peter Parker wants Tony Stark to let him do more, but there is only so much Tony will allow him to do. This song certainly alludes to that relationship, with one of the early lyrics making reference to the epic Civil War airport scene, where Spidey “took down Ant-Man” because Tony wanted him to. Of course, at the time, Ant-Man was actually Giant-Man, with Team Iron Man using Peter’s suggestion of tying up his legs like in Star Wars, to take the Giant-Man down. There are even references to Infinity War and Robert Downey Jr.’s now-classic line of “Underoos,” while the chorus features references to Spidey’s web shooters and the web wings we saw in the trailers.
This song doesn’t make any references to another pair of villains, two different versions of the Marvel character known as Shocker. We reported earlier this month that Bokeem Woodbine will be playing the Herman Schultz version of this character, while Logan Marshall Green is playing the Jackson “Montana” Brice version of Shocker. Both of these characters work for Michael Keaton’s Adrian Toomes, who ultimately becomes the villain known as Vulture. Using scavenged alien technologyThe Tinkerer (Michael Chernus) creates new high-tech weapons for Vulture and his crew to use against Spidey and anyone else who stands in their way. Take a look at the new parody video That Spidey Life, along with the original Bruno Mars music video, as we wait for more on Spider-Man: Homecoming.