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IT Swallows Mother in 2nd Record Breaking Box Office Weekend with $60M

After the highly-anticipated Stephen King adaptation IT had a record-breaking box office debut last weekend, practically all box office prognosticators believed the movie would take the top spot in its second weekend as well, and they were right. The movie dropped a respectable 51.4% in its second frame, earning an estimated $60 million, which was more than enough to take down the weekend’s two new releases, American Assassin and mother!, both of which underperformed. This weekend’s tally also put IT over $200 million at the domestic box office this weekend and broke yet another record making it the highest grossing September movie of all time.

Box Office Mojo reports that the IT remake actually gained 45 theaters this weekend, bringing its total theater count to 4,148, which was thousands of theaters more than both of this weekend’s newcomers. Lionsgate’s action-packed adaptation American Assassin debuted in second place with $14.8 million, which came in about $5 million less than our projection, opening in 3,154 theaters for a somewhat decent $4,692 per-screen average. mother! was right behind it in third place with $7.5 million, opening in 2,368 theaters for a middling $3,167 per-screen average. While the debuts weren’t massive, the good news for both movies is that they didn’t cost much to produce, with American Assassin made on a $33 million budget and mother! produced on a $30 million budget.

Despite American Assassin, starring Dylan O’Brien and Michael Keaton, making nearly twice as much as mother!, the action-packed adaptation of the Vince Flynn novel was by no means a hit critically, although mother! certainly was. American Assassin earned a horrid 35% on Rotten Tomatoes, with mother! earning a “fresh” 68% rating. We also reported that, while critics may have loved the movie, audiences hated mother!, earning a rare F Cinemascore rating, making it just the 12th movie to earn the lowest grade since 2004, and the first to do so since The Devil Inside in 2012. It’s worth noting that American Assassin was given a B+ grade on CinemaScore this weekend.

The top 10 is rounded out by Home Again ($5.3 million), The Hitman’s Bodyguard ($3.5 million), Annabelle: Creation ($2.6 million), Wind River ($2.5 million), Leap! ($2.1 million), Spider-Man: Homecoming ($1.8 million) and Dunkirk ($1.3 million). It’s worth noting that, while the box office prediction story from Tuesday was being written, a movie called All I See Is You was on the release schedule for this weekend, but now it has been moved to October 27, 2017. Also opening in limited release is Annapurna Pictures’ Brad’s Status, which earned $100,179 from four theaters for an impressive $25,045 per-screen average. and FilmRise’s Vengeance: A Love Story, which took in $5,000 from nine theaters for a dismal $556 per-screen average. No box office data was given for ArtAffects’ Because of Gracia, Film Movement’s Time to Die, Abramorama’s Wetlands, the independent western Justice! and Vertical Entertainment’s The Wilde Wedding. It isn’t clear if any of these films will expand nationwide in the weeks ahead.

Looking ahead to next weekend, three new movies will arrive in wide release, 20th Century Fox’s Kingsman: The Golden Circle, Warner Bros.’ The LEGO Ninjago Movie and Entertainment Studios’ Friend Request. Also opening in limited release is the Fox Searchlight sports drama Battle of the Sexes, Oscilloscope Pictures’ documentary Bobbi Jene, Vertical Entertainment’s horror movie Happy Hunting, Samuel Goldwyn Films’ drama The King’s Choice, Indican’s action movie Ribbons, Roadside Attractions’ drama Stronger, Shout! Factory’s dramatic comedy The Tiger Hunter, the independent documentary Unrest, Focus Features’ drama Victoria and Abdul and A24′s dramatic thriller Woodshock. Take a look at the box office estimates for the weekend of September 15, and check back on Tuesday for next week’s predictions.

1IT
2American Assassin
3Mother!
4Home Again
5The Hitman’s Bodyguard
6Annabelle: Creation
7Wind River
8Leap!
9Spider-Man: Homecoming
10Dunkirk

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Paul Bettany Wraps Han Solo, Shares Good-Bye Photo

Paul Bettany is saying good-bye to the set of Han Solo this weekend, as he heads back to Atlanta to finish his part on Avengers 4. The second Star Wars spin-off is going longer than anyone expected, as shooting hit a major hiccup when directors Chris Miller and Phil Lord were fired midway through production. Director Ron Howard stepped in to take over, and he brought his old pal Bettany to help him out. Bettany wasn’t on set long. But his role is being called ‘important’.

Ron Howard and Paul Bettany parted ways publicly via Twitter, using social media to share one last set photo of the actor in full costume. And it appears that both Han Solo and Land Calrissian will take some style tips from Bettany’s character. Ron Howard says this.

“Had to say goodbye to my friend Paul Bettany today. Another terrific performance from a world class talent.”

Paul Bettany was quick to respond in kind. He offered these words.

“Ron Howard you’re too kind. I had the best time watching you make it all look easy. Love ya.”

Paul Bettany’s role in Han Solo hasn’t been revealed yet. It has never been officially confirmed, but it’s believed that he is taking over the role once occupied by Micheal K. Williams. The character has never been fully unveiled, but it’s believed that Williams, who had to leave due to scheduling conflicts after the first two directors got fired, was playing a CGI motion capture character who was part human and part animal.

The shoot needed a quick replacement, and as Bettany is friends with Howard and already immersed in Disney’s Avengers 4, he slid in quick and easy as a replacement. Though, it is said that once Paul Bettany arrived on set, the character was changed from an alien into a human. Though there shouldn’t be any ‘whitewash’ controversy. This is a new character. And Paul Bettany was chosen more out of necessity and the fact that he’s a great actor than anything else.

Paul Bettany began work on Han Solo in early September. So he’s only been on set for a few weeks, with his role not taking up much time. And it’s likely that a lot of coverage was already shot with the other actors when Michael K. Williams was on set, as Ron Howard has noted that they will salvage as much already shot material as they can.

Han Solo is the third movie Ron Howard and Paul Bettany have shot together. They also worked on the Oscar-winning drama A Beautiful Mind and The Da Vinci Code. Howard has been teasing Bettany on social media, along with other not-so-revealing reveals from set without spoiling anything. This photo does give us a better look at Bettany’s costume and a small creature who has been captured in put in a glass bell jar. From the back, it almost looks like a stop-motion Rudolph the Red Nosed Reindeer from the classic Christmas special, and it has a very ‘Collector” vibe from Guardians of the Galaxy.

Ron Howard is also working with previous leading man Warwick Davis on Han Solo. The pair shot the Lucasfilm sci-fi fantasy Willow together way back in 1988. And Howard is promising a signature cameo from his brother Clint Howard. We’ll finally get to see everything come together when Han Solo opens May 25, 2018.

Had to say goodbye to my friend @Paul_Bettany today. Another terrific performance from a world class talent. pic.twitter.com/6jkNKQNQZZ

— Ron Howard (@RealRonHoward) September 16, 2017

@RealRonHoward you’re too kind. I had the best time watching you make it all look easy. Love ya. https://t.co/uN3BjVqs7q

— Paul Bettany (@Paul_Bettany) September 17, 2017

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Weekend Box Office: ‘It’ Devours Darren Aronofsky’s ‘mother!’ With $60M


‘American Assassin’ also beats ‘mother!,’ an elevated horror film which earned an F CinemaScore and marked the worst wide opening of Jennifer Lawrence’s career with $7.5 million.

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Haifaa Al-Mansour On Casting Elle Fanning As Feminist Pioneer In Period Biopic ‘Mary Shelley’ – Toronto Studio

After her 2012 breakout hit Wadjda, the first feature film shot entirely in Saudi Arabia, director Haifaa Al-Mansour surprised everyone with her follow-up, a British-set costume drama, which premiered last week at the Toronto Film Festival. Titled Mary Shelley, it stars Elle Fanning as the 19th century author who penned horror classic Frankenstein at the tender age of 18.

When she came to the Deadline studio, however, Al-Mansour claimed that the material really wasn’t so much of a stretch. “When I read the script,” she recalled, “I really felt it was an amazing coming-of-age story about a young girl who’s trying to find her voice in a very conservative world. England at the time expected women to act in a certain way. And for me, coming from the Middle East, I really sympathized and related to her struggle to find her own voice. So I sent it to Elle, who I’ve been tracking since she was a little kid. It was amazing to work with her and to see her come and embody Mary Shelley.”

Fanning said her curiosity was immediately piqued by the project. “I’d heard of the name,” she said. “I knew she wrote Frankenstein, but I didn’t know her story at all. I feel like you’re taught about the Geneva portion [of her life], and Lord Byron, and how she came to write Frankenstein through this game that they played to write the best ghost story. But it so wasn’t that – there’s such a long journey of so many experiences, and tragedies too, that she went through in her life. I know that everyone was younger back then when they got married and did things, but still to have experienced that much life was [surprising to me].

To find out more, watch the video above.

Deadline Studio at TIFF 2017 is presented by Calii Love, Watford Group, Philosophy Canada, and Equinox. Special thanks to Dan Gunam at Calii Love for location and production assistance; and Ontario Camera for equipment assistance. Video producer: Meaghan Gable; lighting and camera: Neil Hansen; design: Dialla Kawar; sound recording: Ida Jokinen.

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Emmys: Security Will Be “Severely Enhanced” After London Subway Attack

The Los Angeles Police Department and other law enforcement haven’t openly brought down their wall of blue for tomorrow’s Emmys, but big plans and a big presence are coming. Like after the explosions in NYC and New Jersey on the eve of the Emmys last year, security for TV’s big night will be strengthened following the attack on a London Tube train that left dozens injured yesterday.

“Our presence will be severely enhanced on Sunday due to what happened in London this week,” a police insider told Deadline of the measures set to go in place for the 69th annual Primetime Emmy Awards in downtown L.A. on September 17. “You’ll see us, but you won’t see the majority of our efforts unless sadly you have to,” the source added of the larger than usual behind the scenes force that will be deployed both technologically and in trained and armed officers.

While there weren’t a lot of officers around the Emmy-hosting Microsoft Theatre today, officially, the LAPD are sending out a pretty strong message for tomorrow. Though they caution that “there is no known threat or tactical alert in place,” according to Officer Mike Lopez.

“We will be stepping up our presence,” the LAPD spokesman asserts of the Stephen Colbert-hosted ceremony to be broadcast live on CBS and the arrivals of nominees and others earlier in the day. “We are going to have extra officers deployed in and around the Emmys because of the large crowd attending and the large crowd the event will attract,” Officer Lopez added.

Soon after the attack at Parsons Green Tube station in the British capital, which saw an 18-year old man arrested today, the LAPD put more officers out in the field here in the City of Angels:

#LAPD Response to #London Terror Attack. #ParsonsGreen pic.twitter.com/WgGoRdyKoh

— LAPD HQ (@LAPDHQ) September 15, 2017

An Emmy rep said this morning “the Television Academy is working in close conjunction with the LAPD regarding all security measures.” In the wake of the London Tube attack, expect to see great that usual vehicle checks, multiple perimeters leading to the Microsoft Theatre and concrete road barriers on surrounding streets.

“We’ve come a long way in Los Angeles. With the LAPD, the sheriff’s department, and a number of other agencies,” says Kent Moyer, President and CEO of The World Protection Group. “There’s a great cooperation that I have not seen before and even in 18 years,” notes the head of the private security firm that is working one of the Emmy parties this weekend, and whose clientele includes a number of celebrity clients.

The World Protection Group uses an intelligence system known as G THIRA, which is based on Homeland security and FEMA protocol. The system runs 60K live feeds on 50 different types of threats and it’s pulling intelligence from all over the world. There’s an open source share of intelligence between law enforcement and private security in these types of high profile events.

Ultimately, the LAPD says that Angelenos can be the best safeguards against any potential incident at the Emmys or anywhere else in the home of Hollywood.

“Our officers are well trained for any situation that could arise but we need the citizens of L.A. to trust us and be our eyes and ears,” says Officer Lopez. “We always plan for the best, we are always prepared for the worst,” he added.

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Andrew Haigh Talks Exploring Backwoods America In His Coming-Of-Age Drama ‘Lean On Pete’ — Toronto Studio

With his fourth feature, Andrew Haigh proved to audiences at the Toronto Film Festival that, after the triple whammy of Greek Pete, Weekend and 45 Years, he had more in him than just British stories. Set in America’s backwater fairs and racing tracks, Lean on Pete tells the story of a young drifter named Charley (Charlie Plummer), who finds a sense of purpose when he is employed by a seasoned horse trainer (Steve Buscemi) and his jockey (Chloë Sevigny).

When he came to the Deadline studio, Haigh explained that he’d spent a few months in the U.S. just soaking up the ambience before starting shooting. “I came out for about three months after I got the rights [to the book],” he said, “and I spent time with Willy Vlautin, the writer. I went to the local horseracing tracks, went to county fairs. Then I went on a road trip that Charley in the book goes on, and in the film, so I spent three months traveling around, camping, staying in diners, just kind of meeting people and trying to feel the world.”

Newcomer Charlie Plummer said that going for the role was a no-brainer. “I think I had read the script first, and I connected so much with the character in this story…I remember just not being able to think about anything else. So I wrote him a very honest letter about how I connected very, very specifically with the character in the story and the journey of the character.”

Plummer’s co-star Sevigny revealed that they were fortunate in their research to meet their real-life counterparts. “Luckily enough,” she said, “Charlie and I got to work with these horse trainers who really helped us get immersed into the world. [We] went to the track and sat with real jockeys and heard their stories and their trials and tribulations, and they really opened up the world to us. It was pretty incredible to have access to so many people that really are in it.”

See more in the video above.

Deadline Studio at TIFF 2017 is presented by Calii Love, Watford Group, Philosophy Canada, and Equinox. Special thanks to Dan Gunam at Calii Love for location and production assistance; and Ontario Camera for equipment assistance. Video producer: Meaghan Gable; lighting and camera: Neil Hansen; design: Dialla Kawar; sound recording: Ida Jokinen.

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Emmys: Voiceover Announcing Getting A Makeover With Jermaine Fowler On CBS

EXCLUSIVE: Voiceover announcer is an indelible part of awards shows — something that is always there but never stands out. CBS is aiming at changing that up this year with one of the network’s comedy stars, Superior Donuts‘ Jermaine Fowler, taking on the role.

“What most awards show do is have the announcer locked in a closet reading from a script on cue,” said Jack Sussman, CBS Entertainment EVP, music and live events. “What we will do is have Jermaine be an active part of the show. He will be connected with what’s happened on the telecast and what happens next. What we want to do is get a peek behind the curtain in a fun, engaging way.”

Unlike most announcers who are never seen, Fowler will sometime be on-camera backstage. And while he will follow a script, there will be room for some ad-libbing.

It was Fowler’s extensive experience performing in front of a live audience as a standup comedian (in addition to being one of CBS’ leading men) that made him the network’s choice for the job. And while he will be able react to what’s going on during the show, that will not take anything away from host Stephen Colbert’s role as a commentator on the events as they happen live at the Emmys.

While not unprecedented, it is certainly rare for awards show voiceover announcers to be on-camera. Previous examples include Oscar announcer Peter Coyote.

The 69th Annual Primetime Emmy Awards with Colbert as host and Fowler as voiceover announcer air Sept. 17 at 8 PM ET on CBS.

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How Lodge Kerrigan And Amy Seimetz Rewrote The Rulebook For ‘The Girlfriend Experience’ Season Two – Toronto Studio

When Steven Soderbergh originally approached filmmakers Lodge Kerrigan and Amy Seimetz for the cable TV version of his film The Girlfriend Experience, it was, in itself, an experiment – neither filmmaker knew or had worked with each other before. Luckily, the gamble paid off, and when the chance to collaborate came again, the pair not only took it, they also – as they explained during a visit to the Deadline studio – used it as a chance to switch things up again.

“We pitched the idea for the second season in February 2016,” said Kerrigan, “right after Sundance [where the Starz show premiered] and before Season 1 aired. And I think the idea was obviously to do – obviously contingent on Starz’s approval – two seasons, for Amy and myself, and then we would move on, and if the show was to continue, then Steven would find two filmmakers to take over. So in essence, we were looking at a two-season timeframe.”

The duo’s masterstroke was to split the show into two distinct, standalone storylines: Kerrigan’s is set during the 2018 midterm elections, and stars Anna Friel as the finance director of a Republican super-PAC who becomes involved with a GFE provider (Louisa Krause) as part of a nefarious honeytrap/blackmail plot. Seimetz’s strand has nothing to do with it. “It follows Bria,” she explained, “who’s played by Carmen Ojogo, and she has entered the witness protection program in exchange for a plea bargain – which in itself is a transactional relationship, so to speak, because she has to testify – and she moves to a remote location in New Mexico to escape a very abusive and dangerous ex.”

Watch the video above to find out more.

Deadline Studio at TIFF 2017 is presented by Calii Love, Watford Group, Philosophy Canada, and Equinox. Special thanks to Dan Gunam at Calii Love for location and production assistance; and Ontario Camera for equipment assistance. Video producer: Meaghan Gable; lighting and camera: Neil Hansen; design: Dialla Kawar; sound recording: Ida Jokinen. 

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Mark Hamill Warns of Major Spoilers in Vintage Last Jedi Comic

Did a Star Wars fan unwittingly unlock the secrets to this December’s The Last Jedi? Probably not. But that hasn’t stopped star Mark Hamill from begging fans not to read a vintage Marvel comic book that debuted on newsstands over thirty years ago. The question, though, is he joking?

Mark Hamill is well known for using his social media outlets to taunt, tease and troll various different friends, foes and fans over the past few years. And he’s known for pulling some wild jokes. But he recently posted a message on his Hamill Himself Twitter, and he does it was such a straight face, many believe he might be hinting at some truth. He says this.

“I’m begging you! For your own good, do not read this spoiler-laden comic book before Friday, December 15th, 2017. You’ll thank me later #Wait4VIII”

The comic book in question is part of the initial Marvel Star Wars comic run that first debut in the late 70s in conjunction with the release of the original trilogy. The stories pick up after A New Hope and would often flashback to earlier times while also showing what happened in the gap between the original 1977 release and The Empire Strikes Back. As it stands now, these comics are not considered part of the Star Wars cinematic canon.

The issue Mark Hamill is referring to is #49. It hit retailers on April 21, 1981. And the story is titled ‘The Last Jedi’. The comic is infamous for introducing the first brain damaged Jedi to the standing Star Wars lore at that time. The story follows Luke, Leia along with droids R2-D2 and C-3PO as they set off to a jungle planet, answering a distress call sent out by Prince Denid of Velmor. Denid and his lover Loren, along with their friend Jedidiah (seriously) crashed on the planet years ago. The crash claimed Loren’s life. Now, Denid must return to his homeland of Velmor or his brother will take control of the planet. This is very bad, because the guy’s brother is an Imperial sympathizer.

Jedidiah is the brain damaged Jedi, but apparently he never finished his training. Luke disguises himself as a bounty hunter while Leia plays the role of deceased lover Loren, and the two accompany Denid back to Velmor just in time to stop Denid’s brother Anod from being coronated as king. This causes a lot of problems for all involved.

A ceremony is held to commemorate the return of Denid as king. But other forces decide he should be wiped out, to keep the planet aligned with the Empire. In the battle that ensues, both Denid and Leia are injured by the angry Anod. Anod is eventually killed as others try to secure the throne in the name of the Emperor. Luke is forced into a lightsaber fight, and in the end, poor brain damaged Jedidiah sacrifices himself to keep Luke from being capture.

Soon, everyone attempting to keep Velmor in the grip of the Empire is killed or vanquished. Denid is freed and able to rule the land. In turn, he pledges his allegiance to the Rebel Alliance, thanking Luke and Leia for their help. In the end, Luke, Leia and the droids leave Denid to rule over Velmor. On the trip home, Luke takes Jedidiah’s body with him, giving the fallen hero a proper Jedi space burial.

What spoilers are contained within that pertain to The Last Jedi? Perhaps Luke has suffered a major head injury in the sequel, and has been left traumatized? That sounds plausible, considering his dark crazed demeanor on Ahch-To. Or maybe he’ll sacrifice himself, and get a proper Jedi burial in space. Maybe Admiral Holdo is playing the Denid character, and Leia is racing to get her back home in control of her people?

Or, perhaps it’s none of the above and Mark Hamill is just having a grand old time trolling his fans and followers on social media. As The Last Jedi comic from 1981 has often been scoffed at by fans, we can’t imagine that Lucasfilm okayed director Rian Johnson to pull any story elements from it. Here’s a look at Mark Hamill’s twitter.

I’m begging you! For your own good-DO NOT READ this spoiler-laden comic book before FridayDecember15th 2017 You’ll thank me later #Wait4VIIIhttps://t.co/q0CS5c6K3M

— Mark Hamill (@HamillHimself) September 16, 2017

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Audiences Hate Jennifer Lawrence’s New Movie Mother!

Moviegoers are having very negative reactions to Jennifer Lawrence’s latest movie, Mother!, according to CinemaScore, which currently has the movie at an F rating. The Darren Aronofsky directed movie has been getting trashed by audiences, but praised by critics, leading to a huge divide between audience and critic with the polarized reviews. Could it be that moviegoers are beginning a backlash against Jennifer Lawrence?

Jennifer Lawrence is an acclaimed, Academy Award winning actress who was once the highest paid actress in the world two years ago. The 27-year old actress can pretty much do whatever she wants, but it’s beginning to look like her fans do not want to see her in horror movies. 2012′s House at the End of the Street was panned by critics and is seen as a commercial failure when compared to Lawrence’s other work, which still earned a lot of money and was in a neck and neck battle with End of Watch for the number one position at the box office, but ended up at number two.

CinemaScore has been polling audience reactions to Hollywood movies for nearly 40 years and is considered to be a trusted source for audience reactions to movies to many movie fans. Mother! currently has an F, which is obviously the worst grade that a movie can earn. Comparatively, American Assassin and IT both have a B+ rating on the site. Other movies with an F grade include Andrew Dominik’s Killing Them Softly, Richard Kelly’s The BoxI Know Who Killed Me, which starred Lindsay Lohan, William Friedkin’s Bug, Greg McLean’s Wolf Creek, Steven Soderbergh’s Solaris, and Robert Altman’s Dr. T and the Women. The audience reactions are mirrored over at Rotten Tomatoes where the movie currently has a 43% approval rating from moviegoers. But critics have been a lot more forgiving, with some going on to praise Mother! and Jennifer Lawrence’s performance.

Mother! stars Lawrence and Javier Bardem as a newlywed couple living in the middle of nowhere. Their marital bliss is interrupted when two unexpected guests, a man (Ed Harris) and his wife (Michelle Pfeiffer), arrive at their door. The movie has been compared to Rosemary’s Baby by some critics, who admit that while the movie is good, that it does not warrant repeated viewings, which is a lot better than audiences have reviewed the movie. On the other hand, CinemaScore did give The Emoji Movie a B, so maybe this grading scale has been hacked.

The F grading from CinemaScore does not mean that the movie is doomed, but those reviews and grade certainly don’t help its case either. Perhaps the fan that Jennifer Lawrence got into a drunken bar fight with while filming Mother! in Budapest hacked the CinemaScore website after she poured all of that beer on him. Whatever the case may be, it just looks like J-Law fans don’t want to see her in horror movies anymore.

Mother! receives an F #CinemaScore grade. Do you agree?? https://t.co/5Hsz9b1CUUpic.twitter.com/PFpxV6CGrN

— CinemaScore (@CinemaScore) September 16, 2017

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