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Child Services Has Stepped In to Make Sure Rob Kardashian And Blac Chyna’s Baby Is Safe

The drama continues to unfold between Rob Kardashian and Blac Chyna, so Child Services has decided to intervene.

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Disney Swaps Release Dates for ‘Star Wars: Episode IX’ and ‘Aladdin’


The studio also pulls ‘Magic Camp’ from its calendar.

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Gigi Hadid Lost A Shoe On The Runway And Still Walked Like A Champ

Gigi Hadid still puts the super in supermodel despite a wardrobe malfunction. Watch her prove exactly why she’s a pro.

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Director Morten Tyldum Inks Overall Deal With Paramount Television

The Imitation Game and Passengers helmer Morten Tyldum, who directed the pilot for Paramount Television’s Jack Ryan, is expanding his relationship with the studio behind the upcoming Amazon drama series. Tyldum has signed a two-year exclusive overall deal with Paramount TV. Under the pact, he will direct two upcoming pilots for the company and will continue to work on Jack Ryan, starring John Krasinski, in addition to developing.

“After such a great experience working with everyone at Paramount TV on the Jack Ryan pilot, I am thrilled to continue our collaboration by developing and creating new and exciting projects together,” said Tyldum.

On the big screen, Tyldum most recently directed the Jennifer Lawrence-Chris Pratt sci-fi saga Passengers. He received an Oscar nomination for the Benedict Cumberbatch starrer The Imitation Game and before that helmed the Jo Nesbo adaptation Headhunters. Tyldum was recently tapped to direct Exit West, based on Mohsin Hamid’s bestseller for Joe and Anthony Russo’s production venture. The Russo brothers also made a first-look feature film deal with Tyldum and his Mimir Banner.

“Morten is a visionary and the type of talent that we are proud to work with as we continue to put Paramount TV’s unique mark on cutting-edge content,” said Amy Powell, president of Paramount Television. “He is a captivating storyteller and after seeing his work on Headhunters, The Imitation Game and our own Jack Ryan, we knew we had to further our relationship to create visually stunning programming reflective of his cinematic talent.”

In TV, Norwegian-born Tyldum also directed the first two episodes of Starz’s upcoming series Counterpart starring J.K. Simmons. He is repped  by WME, Anonymous Content, Syndicate Entertainment and attorney Michael Schenkman.

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Fast & Furious Spin-Off Feud Is Brewing Between Tyrese and The Rock

During the production of Fate of the Furious, Dwayne ‘The Rock’ Johnson went public with his on-set feud. At the time, he called some of his male co-stars ‘candy asses’. And it was later revealed that his comments were directly aimed at leading man Vin Diesel for his lackadaisical approach to work, and his penchant for being late to set and making others wait. While that feud was seemingly put behind the two actors before the sequel’s release, another feud is now brewing. And this time it’s between The Rock and second tier co-star Tyrese Gibson. Tyrese is upset about the purposed Hobbs Fast and Furious Spin-Off. And is pleading with The Rock not to do it.

Yes, fans. It sounds like the Fast and Furious family is experiencing another major shake-up, and this could be a very broken home soon. The eighth installment of the franchise, Fate of the Furious, was released this past April with many calling it the best film in the series. It has made $1.2 billion dollars worldwide and is the seventh highest grossing movie of 2017 thus far. One of the highlights was the interaction between The Rock and co-star Jason Statham. Reports of the two actors getting their own spin-off arrived even before the movie hit theaters. And there was a post-credit scene that even helped set up this possible spin-off.

Wait, you don’t remember that? Of course you don’t, because it was axed from the final cut of the movie. Vin Diesel saw it and demanded that it be removed. Which it was. And that is said to have helped fuel the on-set rivalry between Diesel and Johnson. There has been tension amongst the two key players since The Rock first joined the franchise in Fast Five back in 2011.

The Rock and Vin Diesel don’t ever share any real screen time together in Fate of the Furious, with Dom removed from the group for a big portion of the story. Johnson and Diesel have since buried the hatchet. But now, a new feud has been ignited by a seemingly innocent photo of Dwayne Johnson sitting at his famed ‘GSD’ table. He had this to say about the image, which you can see below.

“Secret weapon. Many productive meetings and big business deals have been sealed with a handshake at my GSD (Get Shit Done) table that’s inside my trailer. ?This table holds a lot of great mana (spirit/power) and energy. And if these wood slabs could talk… well it’s best they can’t talk for national security purposes. ?Great shot by @sevenbucksprod President @hhgarcia41 capturing our post meeting aftermath. ?#SecretWeapon #GSDTable #LetsGetShitDone”

Now, why would this photo set off Tyrese? Well, it is being speculated that we’re witnessing The Rock sign his Hobbs spin-off contract here. Perhaps. It isn’t confirmed or denied that is what’s happening. But Tyrese certainly felt the image was cause for concern. Following The Rock’s post on Sunday, Gibson posted a comment on The Rock’s Instagram. He didn’t offer these comments to The Rock in private, because Dwayne Johnson isn’t returning Tyrese’s texts. Tyrese said this.

“If you move forward with that #Hobbs Movie you will have purposely ignored the heart to heart moment we had in my sprinter. I don’t wanna hear from you until you remember what we talked about. I’m on your timeline cause you’re not responding to my texts messages. #FastFamily is just that a family……We don’t fly solo.”

It appears as thought The Rock later blocked Tyrese’s comments. But someone captured them for preservation sake. So it definitely sounds like Dwayne Johnson is working on this Hobbs spin-off. And Gibson isn’t at all happy about it. With The Rock refusing to answer Tyrese’s texts, Gibson felt he needed to go public with the brewing feud.

As of this moment The Rock, who is often sharing his thoughts and feelings with fans on social media, hasn’t responded to Tyrese’s comments. And it’s unclear if this will all be smoothed over. Universal Pictures has not confirmed a Fast and the Furious spin-off about Hobbs at this time, but Fast and Furious 9 already has an April 19, 2019 release date. With Fast 10 coming in 2020. It’s not clear where the spin-off would fall, or if it would come later, in 2021.

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‘Shot’: Watch Clip Of Noah Wyle’s Powerful Role As Paralyzed Victim Of Gun Violence

EXCLUSIVE: Here’s an exclusive first look at Shot, a drama about three lives forever changed by gun violence that hits theaters September 22. The film stars Noah Wyle and Sharon Leal with a great performance by one heck of a newcomer in Jorge Lendeborg, Jr.Paladin acquired domestic theatrical rights to Shot, which was directed and produced by veteran filmmaker Jeremy Paul Kagan (The Chosen, Roswell, Conspiracy).


Deadline talked with Wyle and Kagan about why they wanted to do this film. Based on an original story by Kagan and a screenplay by Anneke Campbell and Will Lamborn, Shot is about Mark Newman (Wyle), a movie sound mixer who is pumping up the volume on a bloody shootout in a Western film and just hours later out is felled by a random bullet while talking to his wife Phoebe (Leal) on the street. While she tries desperately to stop the bleeding, they wait agonizingly for an ambulance to arrive as Mark frantically fights for his life. Meanwhile, hidden behind a fence across the street, teenager Miguel (Lendeborg) watches in horror while holding the still-smoking gun he accidentally misfired.


From the moment the shot rings out, Kagan’s camera daringly follows Mark in real time from street to stretcher to gurney to examining table as we watch the paramedics and medical teams in full life-saving mode. The idea is to share the total shock, physical pain, anger, fear, gallows humor and guilt and how all this effects his relationship with his estranged wife. Shot was a passion project for Kagan, who said, “I think this film wanted me to make it.”

Kagan said he had the same feeling when he directed the 1981 drama The Chosen, a film based on a bestselling book. The film starred Robby Benson and the late greats Rod Steiger and Maximilian Schell in a story about two Jewish boys — oneHassidic and the other a Zionist — who come to find common ground despite their differences. That film was widely praised by critics.

Kagan told Deadline that for Shot, he thought it was important for the viewer to see what it’s like in real time for the person who gets shot. He said that over his long career he filmed scenes where a lot of people would get shot on screen. In fact, the very first TV series he filmed, 1973’s Nichols starring James Garner, was about a cowboy sheriff who didn’t have a gun and at the end got shot and killed. Then his twin brother (also played by Garner) sought revenge. So audiences got to know the sheriff and fall in love with the character before he died.


Shot is unflinching in its depiction of real gun violence and the physical and mental struggles of its victims. The scenes are visceral and bloody at times. It is not for the faint of heart, but it is one of the best portrayals of what actually happens (Fruitvale Station comes to mind). It is a powerful film. It shows how relationships are affected and even how those in wheelchairs are treated by others with awkward, sideways glances.

Lendeborg — cast in this film before landing the role in Spider-Man: Homecoming — is definitely one to watch and easily could become one of the film industry’s leading men.

Kagan won an Emmy for Chicago Hope for the episode Leave of Absence where one of the doctors Alan Birch (portrayed by Peter MacNicol) was shot down by street thugs and how doctors then struggled to save his life. “I’ve spent time in ER rooms as gunshot wound victims came in. I have seen this. I have seen how the doctors interact and the EMT guys that are there,” said Kagan. He also filmed an episode of Taken (for Steven Spielberg) where a young father gets shot but is later cured by his alien daughter.


USC Cinema

“In a way, this theme in terms of moviemaking has been constantly around me. About seven years ago is when this started, and I came to realize what an incredible epidemic we have. What occurred to me is that we don’t know what it really means in real time to get shot. Maybe it’s naive arrogance, but I hope this movie saves a life. And I feel that maybe if someone sees this and was going to get a gun, take their life by suicide, give a gun to someone else, that maybe they would think twice.”

Noah Wyle spent 22 days on his back and then in a wheelchair for the role. “I have known Jeremy a long time and have always admired his activist streak and ability to develop great material,” Wyle told Deadline. He said he was finishing up the final season of DreamWorks/TNT’s Falling Skies in Vancouver and was looking for something that would challenge him as an actor — the kind of role that would “strip your house down. To take your house down to the studs and then you have to build it back up again. I thought the best way to do that was to self-flagellate for 22 days.”

He said what interested him about the character was he was a guy who was always conscious of time and juggling many balls in the air during the course of his day, “and then in an instant, none of that matters” when he is hit by a stray bullet. Wyle said that he hopes, the film “could be a validating experience — to see this movie might make it feel more universally understood and make people feel less alone. To know that someone else has also walked this path before them.”

Shot releases into ten U.S. cities theatrically on Sept. 22 before being distributed on other platforms.

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HBO Renews John Oliver’s ‘Last Week Tonight’ Through 2020

HBO has picked up John Oliver’s late-night Sunday show for three more seasons, keeping it on the network through 2020. Thirty episodes will be produced each season.

Last Week Tonight With John Oliver  debuted in 2014 and now is in its fourth season. This year it was nommed for eight Primetime Emmys, including Oustanding Variety Talk Series, and already had won two: Best Picture Editing an Best Interactive Program. Last year it won three Emmys including Best Variety Talk series, and best writing, and picture editing for a variety show.

“We are thrilled to have John Oliver as an integral part of the HBO family and to continue to share his comedic brilliance with the world,” HBO Programming president Casey Bloys said in today’s news, calling Oliver’s “extraordinary genius for rich and intelligent commentary…second to none.”

Responded Oliver in his statement: “First: I firmly disagree with everything Casey just said. Second: We’re very grateful to Richard Plepler, Casey and everyone at HBO for letting us continue to do whatever it is we actually do. And finally: We’d also like to thank our staff for all their hard work. We’re incredibly proud of all of you, and rather than tell you that to your face, we’d like to do it in the cold, dispassionate form of a press release.”

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‘First Reformed’: Paul Schrader On His “Dark Night Of The Soul” Movie

Taxi Driver and Raging Bull screenwriter Paul Schrader’s last film as director was last year’s Nicolas Cage crime drama Dog Eat Dog — a movie that “could not have been more antithetical to First Reformed,” he told me recently. A drama about despair laced with activism, radicalism, religion and a commentary on the state of our planet, First Reformed premiered to strong notices at the Venice Film Festival and today screens in Toronto’s Masters section.

Ethan Hawke and Amanda Seyfried star in the story of Reverend Toller, a Calvinist former Army chaplain who encouraged his son to join the service, only to see him killed in action after a short stint. The now divorced clergyman is scratching the bottom when we meet him, but is seemingly buoyed by a parishioner (Seyfried) who seeks help for her husband — a young man obsessed with a doomsday climate change scenario.

There’s blood and brooding as Toller continues to struggle with his own demons and as the 250th reconsecration of the titular church approaches.

Mark Mann

Schrader, who grew up in a Dutch Calvinist household, calls the story personal while comparisons aplenty have been made to Robert Bresson’s Diary Of A Country Priest and Ingmar Bergman’s Winter Light. Hawke in Venice remarked that he is “hopeful about the ending,” which Schrader has left purposefully ambiguous.

Schrader and I recently discussed why the story is so close to home for him, the current state of the industry and the longevity of his earlier work. Here’s our chat:

DEADLINE: You’ve called First Reformed a personal story.Why was now the right time to tell it?

PAUL SCHRADER: It’s an accumulation of what I’ve been doing from the start. Even before I became a screenwriter, as a critic I wrote a book that was a study of spiritual cinema. I had come up through a church background and it always interested me. My own career took a different path and I was too enamored of psychological realism and action that I never thought I would make a film like that.

Then about two years ago, I was having dinner with (Oscar-winning Ida director) Pavel Pawlikowski, listening to his thinking, and walked away and said, “Now, that’s it.”

DEADLINE: What was it that he said to tip the scales for you?

SCHRADER: We were talking about the economics and he said you can make a film like this and be financially responsible now. Before in the U.S. system, taking a chance on a film like this is asking people to jump off a cliff. With technology now you can pretty much guarantee their investment if you really toe the mark on your budget. What it took to do in 40 days now takes 20 days.

DEADLINE: Climate change is a backdrop of the film — are you trying to deliver a message?

SCHRADER: I don’t think it’s really possible to be alive without pushing some sort of agenda, particularly now that climate change has put so many of the historic and theological issues into boldface. There are so many great questions that philosophers have been talking about for 3,000 years and now there’s a pretty good chance we’re going to get those answers.

I’ve lived in the magic cone of history, the best era of history, the most selfish, most indulgent, privileged, laziest of human history that has ever existed. And in return for all this beneficence, we have in turn ruined the planet.

DEADLINE: Is that why the film has such a sense of despair?

SCHRADER: Early on in the film, Toller has a long conversation with the young man who is wondering whether to bring a child into this world. He says, “This is not about your baby, this is about you and your despair.” You can say the same thing about Reverend Toller about his biological son in the form of this kid who wants his help, or his attitude towards the environment. He’s looking for something to latch onto to justify his darkness of the soul. In some way they’re interchangeable. He graphs onto himself the cause of the young man, but that’s not his problem.

It’s not really a positive church film like All Saints. It’s really trying to make the world a better place through the metaphor of the church. This is one of those dark night of the soul movies and how it reverberates off people is unpredictable. It goes back to Taxi Driver in the same kind of configuration. You can’t really predict how that film affects people.

DEADLINE: Speaking of Taxi Driver, what do you think you’ve learned over the decades since writing that film?

SCHRADER: The front-loading is pretty much the same: you have a problem with your life, you find a metaphor, you explore the metaphor with a plot and you end up with a series of themes. That’s a level of personal investigation which has always been the gold standard.

Not every film works that way. Sometimes you adapt and sometimes you’re doing something much more in the genre context. The ideal situation only occurs every five or six years and is where you find the film that addresses where you are in this lifetime.

I don’t think there’s anything we’ve learned in the last 100 years that’s much use anymore. We don’t know really what movies are anymore, don’t know how you see them, where you see them, how you pay for them, how you monetize them. It’s kind of exciting that way.

We’re now talking about movies without theaters, maybe movies without screens — movies that you can take a pill for…

DEADLINE: So what’s your stance on the new distribution models?

SCHRADER: I’m absolutely open to all kinds. Particularly in this case, when you have a film that is personal and set at a fairly high level and people are responding to it and it’s a film that has equity financing. This is the first time I’ve been in this situation with a film with some top-spin on it that hasn’t been pressed and you don’t know which way the ball is going to pivot.

We are living in a tsunami of product. Every day is Hurricane Harvey day in Hollywood and the movies just come like a tidal wave and so what does it take to get your head above the crowd in TV, theatrical, streaming? That has become one of the new functions of festivals. There are simply so many films that no organization and no critic can monitor them, so the festivals are now becoming the de facto gatekeepers.

DEADLINE: We evoked Taxi Driver earlier. Has the longevity of your earlier work surprised you in any way?

SCHRADER: Yes. Obviously we have the technology to allow films to be continually available. But I’ve been watching a lot of ’60s and ’70s films recently and am surprised how many don’t stand up. When you make a film that does stand out, it’s really a serendipitous event.

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‘I Love You Daddy’ Writer-Director Louis C.K. On His Unique Approach To Creating & Distributing Content – Toronto

One of the most defining, ubiquitous comedic voices of the last decade—hitting the stratosphere of stand-up stardom and creating hit series including Louie and Horace And Pete—Louis C.K. is as much a filmmaker as anything else. Writing on series including The Chris Rock Show and Saturday Night Live before breaking out in a big way on his own, C.K.’s first shorts date back to the early 1990s, with his first feature, Tomorrow Night, going mostly unseen until C.K. brought it to fans on his website, through which he distributes his own material for a nominal fee.

Banking this unique distribution strategy off his stand-up fan base, C.K. has been a pioneer in more ways than one. The artist brought a filmmaker’s eye and his unique, often dark and absurd sense of humor to Louie, the project that launched a thousand FX series including Baskets and Pamela Adlon’s Better Things, both of which he co-created.

Editing Louie, in addition to starring and executive producing, C.K. has taken the auteur approach to all of his projects since. The two other significant facts about C.K. with relation to the acclaimed Horace And Pete—and now his latest feature, the Toronto Film Festival-premiering, black-and-white, I Love You, Daddy, in which he also stars—is that he he funded both projects himself, and produced them in secret. Centering on the daughter of C.K.’s Glen Topher, played by Chloe Grace Moritz, and shot on film, I Love You, Daddy sits amongst a canon of films driven on by filmmakers’ personal nightmares. In this case, the scenario involves C.K.’s daughter being seduced by a much older, notoriously creepy director and potential pedophile, played with potent dark energy by John Malkovich.

Sitting down with members of his I Love You, Daddy cast—including Edie Falco (Horace And Pete), Charlie Day (It’s Always Sunny In Philadelphia), Adlon and Ebonee Noel—C.K. explains the rationale behind these choices, examining his drives as an artist of rare form.

Louis, the self-financing idea is fairly self-explanatory, but why is it that you’ve made several of your last projects off the grid? How did you come around to this approach?

Louis C.K.: Because there’s so much television and so many movies, and so much media, and the Internet is a massive cornucopia, or dump truck, or whatever it is, nobody ever gets to see anything without knowing what it is anymore. It’s a rare thing. We all write and make movies thinking, “So then, you find this out, and then you find this out,” but the truth is, the audience is so contaminated by advertising and promotion that they don’t have the experience you think they’re having, or that you think they’re going to have. To me, the only thing I got out of [the TIFF premiere] last night is that’ll be the only audience ever to see it without knowing a single thing about it.

The absence of information around a project really seems to heighten things and generate substantial excitement.

C.K.: That’s how we all think that they’re going to be, and they’re never that way. We made Horace And Pete, we got to keep it in that vacuum for a whole 10 weeks, and that was joyful, to do it that way. People are always fighting for attention with things now because there’s so much content. Actually, if you don’t tell people stuff—you just keep your mouth shut—you don’t have to whisper it, you just don’t yell. Take the bullhorn off your mouth and it’s a secret.

You have a tendency to self-distribute but recently sold this film to The Orchard in a $5 million deal. Can you explain that decision?

C.K.: I want this out there—I want it to be. I want it to go out and be on movie screens. I want lots of different kinds of people to see it. I like experimenting with my own site. It’s fun, and I don’t value money as something to hoard, so I’ll give away most of it to try something like this. It’s worth the gamble to me, but with this movie, I made it to be a communal experience on a big screen.

What have you learned as you’ve walked your path in stand-up, acting and directing that informed your approach on I Love You, Daddy?

C.K.: Everything that you do is school. Everything is learning how to do something. I always feel like I wish I could do it all over again, now that I did it, now that I know how to do it. But you sort of accept that everything is like, “OK, we’ve got about 60 percent of what we wanted there, but we came away with a truckload of information and it’s going to make the next thing better.”

The TV show [Louie] was like making short films so it taught me a lot about filmmaking, and it taught me about storytelling in short bursts. I think that was my biggest thing to learn about. Before I did Louie, I didn’t really know how to write a story that well. I think that show taught me how to do that, and it was a smaller step from that to this, to actually write a whole movie that’s worth watching for more than 30 minutes.

Where did the seed of the idea for this film come from? To what extent is I Love You, Daddy autobiographical, with your experiences of fatherhood and show business?

C.K.: Working in TV and navigating success is a tricky thing. It’s easier to navigate the hard work of starting out because you just do anything they let you do, but once you get into an orbit, after the thrusters have pushed you into the orbit, now you have to navigate that orbit. That’s more about your choices.

There’s no choices when you’re starting out. You’re just like, “Please, let me do anything.” But then it turns around and it’s like, “We’ll let you do anything,” and that’s dangerous because it’s like, “Is that a good idea or not?” You could have your own TV show, you could have this, you could be the star of this movie. “You could play George Jetson,” somebody once said to me. “You want to be George Jetson?” I had to go “Jeez, is that a good idea?”

Charlie Day: [faux excitement] Do I? Is Cogsworth Cogs available?

The film comments on that notion—the idea that making work just for the sake of doing work is problematic.

C.K.: That’s right. And that’s dangerous.

It sounds like this is something you’re working against, with your decision to put Louie on hiatus and feel out other projects.

C.K.: That’s right. That’s why, when I started to feel that way on my show, I took a break and I got the momentum back to do another couple of seasons, and then I stopped when I felt like, if I make another one, it might just be to fill the episodes, rather than because I’ve got to tell these stories. You go to the barrel and you’re sort of scraping around, instead of opening the tap and it comes out. So, there’s that. Then, as far as my kids go, I’m not in any of this territory right now of what happens.

Your daughters are still quite young?

C.K.: Yeah.

Pamela Adlon: I am [laughs].

C.K.: So I know everything about her kids. But also, this movie is about a nightmare of somebody. It’s imagined. This movie, to me, is a big “What If?” What if you had this experience? Holy f*ck. That’s what [writer] Vernon [Chatman] and I were talking about. What if one of my daughters started getting hit on by one of these fascinating, notorious people in the world? What the f*ck would I do? I got so scared in the moment of thinking of that, that I thought, “That’s a movie. I know this is a movie.”

Adlon: What just hit me, besides the fact that you’re probably cannibalizing my daughters and their friends, is that my youngest has a crush on Robert De Niro—the now one—and she’s 14 [laughs]. So she told me that—she’s like, “Mom, he’s hot.” I got sick to my f*cking stomach. I was like, “Don’t ever tell me…” OK, she’s going to have a thing for older guys now. This is happening.

Day: You’re going to get a phone call like [assuming De Niro accent], “Can she come out and play, or what?”

Beside the opportunity to work with Louis C.K., what were the elements that drove you all, as actors, to work on this film?

Edie Falco: It sounds like real people talking. Having worked in different forums, it’s amazing how hard it is to say some dialogue that’s put in front of you, and the whole challenge of the project is to make this sound like a human saying it. And then you get handed a script where you’re like, “Holy sh*t.” It’s just the way people talk, and the way they think, and it’s complicated and very hard to categorize. It’s just the stuff that I adore, and there are so few venues for it—very little brave writing these days.

Day: I’ve said it before, but you look at any one of these characters and there’s so much emotion behind everything that they say—except for Ralph [laughs]. So I did it in the hope that one day, I’ll get to play one of Louis’ emotional characters in a future film.

C.K.: I thought of that when I was cutting it. I thought, The next time, we want to give Charlie…Let’s see him get mad [laughs]. There actually was a through line in the story where Ralph gets his feelings hurt a bunch of times. Glen hurts Ralph’s feelings. There were like three moments, and I cut them out because they stop the momentum of the film, but there was that through line where he feels like, Why are you asking me to come over?

Adlon: That’s right! I loved that, when you were in the apartment.

Day: Truth be told, I’m a huge admirer of Louis, and his bravery in his art, and was thrilled when he asked me to be a part of it. Just to join that world.

Adlon: He kept saying you to me. “I’m putting Charlie Day in it!” I’m like, “Who the f*ck is Charlie Day. Why do you keep saying Charlie Day?”

Day: Pamela’s late to the party. Ask your kids who I am.

You always make an effort to write great, complex roles for women. How do you go about that, and what motivates that decision?

C.K.: In this movie, there’s one male character besides the remote Leslie. This is the only guy. I’m surrounded by these women, and there’s two missing here. It’s a constellation of women. Chlöe [Grace Moretz] and Rose [Byrne]…

I was raised by a hard-working single mother, so my first role model was a woman. My only caretaker was a woman, and I have three sisters, so my community was girls. I have two girls, and my dog is a girl. My dead dog was a girl. I don’t know. I guess I’ve always keyed in on that perspective. Also, they’re the other ones—I’m not one of them. They’re the other ones, so they’re so much more interesting to me. Writing is an exercise of trying to figure it out. I know I’m getting it wrong, but it’s fun to get in there and see. It’s my own little adventure.

In one of the film’s fascinating scenes, Glen is “mansplaining” feminism to his daughter, with the added complexity that he is trying to protect his daughter from harm, and raise her with good values. Where did that scene come from?

C.K.: Well, you’re never doing only one thing, and there is some writing in movies that refines like sugar, that says, “This is this.” The game of this scene is that this is a dumb guy telling a girl what feminism is, and he shouldn’t. But there’s other ingredients in there. This is more—whatever—brown rice. He’s also her dad. He’s also trying to find some foothold to say, “Why don’t you f*cking get your life going? Why don’t you take yourself more seriously?” He points to her friend and says, “She’s serious and you’re not.”

In the end, he’s also having a tin ear. He’s not listening to her, but it’s hard to listen to your kids sometimes because you’re pent up with intent to do for them. I was having a conversation earlier where I thought that “protect” and “prepare” are your two jobs as a parent, and they’re in conflict. You have to protect your kids, but you have to prepare them for the sh*t you’re protecting them from. When you get on the bleeding edge of that, when they’re 17, which I haven’t experienced yet, it’s intense, and you make a lot of mistakes. This guy was trying his best, and it wasn’t that good.

The final scene of the film is fascinating and emotionally resonant, this moment where Topher can acquaint himself with his daughter as a new person—as an adult—free of the distortions that come with parenting for decades.

C.K.: That’s what it is. If you’re lucky, you get a friendship. Again, I haven’t experienced that as a parent, but I was two people’s kid, so when your childhood is over, you go, “Hi, my name is Louis. What’s yours? Oh, you must be my mom. You must be my dad,” and you see what you forge. Because your parents are just part of the landscape, part of the scary world, and you come out of it an asshole like everybody else, or a nice person like everybody else, or both.

Then, it’s nice if you can stay friends, I think. I don’t think there is a thing of, “You must stay in touch with your parents,” because people can hurt each other that way, but boy, would it be nice if my kids cared to let me in on what’s going on with them when they’re [older], and that’s by the grace of them. I always feel like it’s a one-way relationship. I’m obliged to my kids. They have no obligation to me. I just f*cking hope they care to call me and spend time with me.

You’re one of those artists that tends to keep his collaborators close, including his actors. For you, as a director—and for you all, as actors—what is the value of that?

Falco: It’s so nice to be around the genesis of the idea. So many of the things that I do that are some of these larger projects, the colonel [behind] the idea is someone I’ll never meet, certainly not on set, and there were so many people between that person and me performing. It’s a venue where they’ve made this TV show before; they know how it’s done.

I remember one of the early days on Horace And Pete when Louis came in and said, “Well, I don’t really know if this is possible. This is my idea. We’re going to try to do this thing,” and it was endlessly exciting. You don’t get opportunities like that.

You’re just trying stuff. It’s the same reason I don’t really memorize stuff—I sort of keep it just on the tip of my brain, because it’s fresh and it’s new and you kind of don’t know too much intellectually about what’s about to happen. It’s a tremendously exciting place to be for an actor.

Adlon: I do a lot of animation and voice-over. You work with the same directors and actors over again. You know what their abilities are. I know if I bring Edie in, she’s going to be able to go to this place and this place. It makes everybody’s job easier. You just develop a shorthand, and you’ve got your own Mercury Players. It kind of fortifies the work because you get your team.

C.K.: It is, it’s like a team. I think of it that way, and that’s why I like to use people that I value again, because Pamela and Charlie, for me, share some territory. To me, they’re both leadoff hitters, or they’re Number 1 or Number 2 hitters if you know baseball at all. They’re like Derek Jeter, [Alfonso] Soriano, somebody like that.

Adlon: I don’t understand what he’s saying [laughs].

C.K.: These two are going to get on base, and once they’re on base, they’re going to cause trouble for everybody on the f*cking field. They’re going to steal bases, they’re going to find opportunities. They’re fast, they’re agile, and they have those capabilities. To me, Edie is like a great athlete. She’s like Bernie Williams, or she’s like a great wide receiver. Toss the ball into her area and she’s going to f*cking jump up and get it. I think guys like Malkovich are just going to walk up with ease, and he’s going to hit a home run and he’s going to trot around. He’s barely going to break a sweat. Whack! and he just eats his sunflower seeds.

Bearing in mind what you’ve said, do you think we will be seeing more Louie anytime soon? Do you have any updates at this point?

C.K.: None. I’m not thinking about it. It doesn’t mean it won’t pop into my head, but I decided that I want to leave it alone and maybe I’ll come back.

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Halloween Producer Will Chop Off His Hand If Reboot Isn’t Ready by Fall 2018

We’ve been hearing about a Halloween reboot for a while now, but the creative team is firmly in place and he movie is supposed to arrive in time for Michael Myers’ signature holiday next year. Now, Jason Blum, head of Blumhouse Productions, has promised that the new Halloween will be out by then or, as he put it, “you can kill me.” Bold words, but ones that serve to encourage for those who may have had their doubts.

Jason Blum recently spoke with The Wrap during a tour of Universal Studios’ Hollywood Horrors of Blumhouse attraction, which will be part of the park’s upcoming Halloween Horror Nights. When asked whether or not the upcoming Halloween reboot is actually going to be released by Halloween of 2018, Blum was very blunt in his assurance and was willing to offer up his hand if it doesn’t come to pass. Here’s what he had to say about it.

“You can kill me. You can behead me. You can chop my hand off, the prince of horror, you can cut my hand off. That’s on the record.”

Bold words from the “Prince of Horror.” Granted, that isn’t a name he bestowed upon himself. He was once called the King of Horror, but since Jason Blum feels that title belongs to Stephen King, he settled on Prince of Horror. Given the reputation that Blumhouse has earned in recent years with movies like The Purge, Paranormal Activity and more recently, Get Out, it’s a title he’s earned. With the upcoming Halloween reboot, if he can really deliver on his promise, he will cement that title. Assuming the movie is as good as we all hope it can be, that is.

It’s been quite some time since Michael Myers graced the screen. Especially in a good movie. So there is a lot of pressure on this Halloween reboot, which isn’t technically a full-on reboot, to deliver. It has been said that this movie will largely ignore the mythology of the later Halloween sequels, but will not fully reboot the series. David Gordon Green (Pineapple Express) is set to direct the movie with Danny McBride (This is the End) set to co-write the script with him. They may seem like unconventional choices, but John Carpenter himself gave them their blessing and recently approved the script, so it sounds like the new Halloween is in good hands. The fact that Carpenter hopes to do the score for the movie should say quite a lot about his faith in it.

This report also confirms the October 19, 2018, release date. We recently reported that the hope was to release the movie on Halloween of next year, but it looks like Blumhouse wants to get the jump on the holiday and milk some box office out of it. Considering the horror renaissance we’re in right now, with movies like Get Out and IT delivering both critically and at the box office, this is the perfect time for the Halloween franchise to return. And it will return next year, or Jason Blum is willing to lose a hand and maybe even his life over it.

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