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Buckle Your Seat Belt: Dame Helen Mirren Joins the Cast of 'Fast 8'
15 June 2016 11:27 AM, PDT | Hitfix | See recent Hitfix news »
I am overjoyed to be writing this next sentence. Academy Award winner Dame Helen Mirren has just joined the cast of Fast 8. Yes. Really! My god. Helen Mirren and Charlize Theron together at last. How will one screen be able to handle such awesome woman power? Mirren, who recently joined the Winchester Mystery House thrilled, broke the news to Elle Magazine while promoting her next film. They wrote: Next up: Mirren will head into the Fast and Furious franchise, joining Vin Diesel and crew for the eighth film in the series, out in 2017. While both the actress and Diesel have teased her involvement, reportedly as the movie's villain, Mirren exclusively confirmed her casting to us as she discussed her career and what she learned from making Eye In The Sky. Eye in the Sky is a military-themed thriller focusing on drone strikes, but Mirren is no stranger to action. She starred in 2010's Red and its sequel Red 2. "I like [film] to be serious. Of course, having said that I'm about to do Fast and Furious 8. But that's for the fun of it," she told Elle. "So maybe that's what I want as well, some fun and some relevant, serious, important movies." Considering the role automobiles play in the franchise, Elle asked her if she was a fan of cars: Well, yes. I've always rather loved driving. I said, 'I'll be in it, but only if I'm allowed to drive if I do drive in it.' But we'll see. We'll see how it transpires. Film is a wonderful thing and it can be so many different things. I don't want to turn my back on any of the different ways movies can be. I love the movies. I love going to the films. I like very serious films, I love foreign films, and I love big, fun movies–as long as they're well made and they've got good scripts. That's the most important thing. Yes. Good. This time around the film is being directed by F. Gary Gray and set for an April 14, 2017 release. Scott Eastwood and Kristofer Hivju (aka Tormund from Game of Thrones) recently joined the cast which reportedly includes Vin Diesel, Kurt Russell, Michelle Rodriguez, Dwayne Johnson, Tyrese Gibson, Chris Bridges, Lucas Black, Ruby Rose, Jason Statham, Eva Mendes, Ronda Rousey, and Joanna J?drzejczyk. The ninth and tenth installments of the franchise have already been announced and given release dates. »
- Jill Pantozzi
Corin Hardy to Direct Action Movie ‘Hell Bent’ for Paramount
15 June 2016 11:20 AM, PDT | The Wrap | See recent The Wrap news »
Corin Hardy, who made 2015 horror film “The Hallow” and recently exited “The Crow,” has been tapped to direct Paramount action film “Hell Bent.” The film, considered a major priority for the studio, is being described as the “Dirty Dozen goes to hell.” With casting set to happen very soon, the script for “Hell Bent” is being finalized. Producers include Lorenzo di Bonaventura and Mark Vahradian. Also Read: DreamWorks Animation Hires Paramount Exec as Head of Development The movie revolves around a group of mercenaries who are murdered in a Brazilian jail. From there they quite literally fall into the depths of hell. »
- Meriah Doty
The 15 Worst Films Of 2016 So Far
33 minutes ago | The Playlist | See recent The Playlist news »
You know us —it’s all sunshine and buttercups round here. Almost every other day of the year, we can be found frolicking in the bee-loud glades of cinephilia, delighting in the wonders on display with the eyes of gurgling infants. But very rarely, we stray to the Dark Side, and today is such a day, […]
The post The 15 Worst Films Of 2016 So Far appeared first on The Playlist. »
- Jessica Kiang
‘Tony Robbins: I Am Not Your Guru’ Trailer: 2,500 Fans Gather to See the Self-Help Master in Joe Berlinger’s Documentary
37 minutes ago | Indiewire | See recent Indiewire news »
Tony Robbins may be no Holy Wayne, but there’s little denying the motivational speaker and “Shallow Hal” cameo-haver’s success. Netflix’s next original movie takes a look at his annual “Date with Destiny” seminar, with the first trailer for “Tony Robbins: I Am Not Your Guru” now available for all your self-actualization needs.
Read More: SXSW 2016 Review: ‘Tony Robbins: I Am Not Your Guru’ Makes Tony Robbins Look Kind of Scary
2,500 people make their way to Boca Raton, Florida for the six-day seminar every year, but director Joe Berlinger and his crew were the first allowed behind-the-scenes access to it. He’s as energetic offstage as he is in front of his assembled fans, who, at least in “I Am Not Your Guru,” are out of their minds with excitement to even be in the same room with Robbins.
Read More: Joe Berlinger’s Tony Robbins Documentary to Open 2016 AmDocs Film Festival
Berlinger previously directed “Metallica: Some Kind of Monster” and co-directed the “Paradise Lost” trilogy, the first of which is among the best films of the 1990s. “Tony Robbins: I Am Not Your Guru” is available on Netflix on July 15.
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- Michael Nordine
Volker Schlondorff Selected as Telluride Festival’s Guest Director
42 minutes ago | Variety - Film News | See recent Variety - Film News news »
The Telluride Film Festival has selected German filmmaker Volker Schlöndorff as its guest director.
He will select a series of films to present at the 43rd Telluride Film Festival running over Labor Day weekend on Sept. 2-5. In keeping with Telluride Film Festival tradition, Schlöndorff’s film selections and the rest of the Telluride lineup, will be kept secret until the opening day.
“Volker is the type of person Tom Luddy and I dream about when we begin the Guest Director selection process,” said Telluride Film Festival executive director Julie Huntsinger. “His love and knowledge of the cinema allows for limitless possibilities; films we could never imagine being shown on the big screen again. What a truly unique experience we will have at the 43rd Telluride Film Festival with Volker in charge!”
Schlonodorff’s debut feature was “Young Torless” in 1966. He won an Oscar for Best Foreign Language Film as well as the Palme d’Or at Cannes for his 1979 film “The Tin Drum.”
His other credits include “A Degree of Murder,” “A Free Woman,” “The Circle of Deceit,” “The Lost Honor of Katarina Blum,” “Ogre,” “The Handmaid’s Tale,” “Palmetto,” “The Ninth Day” and “The Legend of Rita.”
“Since 1981 Telluride has been part of my life, my favorite festival for the uniqueness of the location and the number of friends I met and made there,” said Schlöndorff. “It’s not just about our love of movies, but of life and conviviality and good will for a lot of lost causes. Julie Huntsinger and Tom Luddy are in touch with me all around the year, exchanging funny links and gossip. Of all honors, it’s one of the greatest to curate a program in the mountains.”
Past Guest Directors include Rachel Kushner, Guy Maddin, Caetano Veloso, Michael Ondaatje, Alexander Payne, Salman Rushdie, Peter Bogdanovich, B. Ruby Rich, Phillip Lopate, Errol Morris, Bertrand Tavernier, John Boorman, John Simon, Buck Henry, Laurie Anderson, Stephen Sondheim, G. Cabrera Infante, Peter Sellars, Don DeLillo, J.P. Gorin, Edith Kramer and Slavoj Žižek.
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- Dave McNary
Why New York’s Proposed Tax Incentive Could Create Way More TV Jobs for Minority & Female Filmmakers
48 minutes ago | Indiewire | See recent Indiewire news »
There’s little question that the current state of women and minority writers and directors in television is an enormous problem. The numbers are staggering: Female directors (16%), minority directors (18%), female writers (29%) and minority writers (13%) make up an extremely low percentage of those working in episodic television. Elsewhere, the diversity in late night shows is simply absurd. Complex recently surveyed the top 10 late night comedy shows and found of the 155 writers, only 8 are women of color.
To address this problem, there have been a number of industry-backed diversity initiatives launched, but none as promising as a new piece of legislature headed to the New York State Senate. The new legislation proposes that the Empire State Film Production Tax Credit allocate $5 million of its $420 million fund to television productions that hire women and people of color in writing and directing roles. The bill has already passed the state assembly and yesterday was publicly supported by The American Civil Liberties Union, who earlier this year called for federal investigation of Hollywood’s hiring practices.
Meanwhile,over 500 members of the Writers Guild (WGA), including Tine Fey, David Simon and Tom McCarthy, have sent letters to Governor Cuomo to voice their support for the bill.
Read More: Rejecting ‘The Lie’- Why Racist Financing is Sending Filmmakers to a Colorful Television Landscape
On the surface, this legislature might not look like a big deal, but when you examine how it works, it becomes much more clear how it could directly lead to actual TV writing and directing jobs for women and minorities.
Television production is booming in New York City. The 30% tax incentive from the state attracted 52 scripted shows last season, along with seven of the major late shows. Here’s the catch: In New York, productions receive a 30% rebate on “below-the-line” costs, which does not include writers and directors. This legislature would take $5 million out of the $420 million yearly incentive fund and earmark it to extend the rebate to the salaries paid to women and minority TV writers and directors. In other words, the studios are incentivized to hire diverse creative teams because they can save on their salaries. The new legislation does put a cap on this rebate (there are no caps on below-the-line costs), maxing out at $50,000 per writer and $75,000 per director.
Unfortunately, as the WGAw reported earlier this year, Hollywood was already “saving” on the salaries of women and minorities, who are consistently paid less. The guild found that women earned 89 cents and minorities earned 75 cents for each dollar earned by white male writers.
Read More: 13 Female Filmmakers Who Are Ready To Direct A Blockbuster
Still, the tax incentives have been proven to work, largely because they play a significant part of Hollywood’s math during the early stages of planning a production and creating a budget. It’s why a number of TV shows that aren’t set in New York are being shot here. And it’s why Georgia, which does extend their 30% tax incentive to all above-the-line costs (including the salaries of stars), has become home to a large percentage of huge summer blockbusters and shows like “unReal” and “The Walking Dead.”
In other words, this is probably the smartest and potentially most game-changing diversity initiative to come along. $5 million is a drop in the bucket, but if it works and gets used up in the first year, it could lead to similar initiatives and practical solutions that get Hollywood to change their ways.
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- Chris O'Falt
‘Making A Murderer’ Team To Direct Pharmaceutical TV Drama Produced By George Clooney
52 minutes ago | The Playlist | See recent The Playlist news »
When the Laura Ricciardi and Moira Demos -directed “Making A Murderer” hit Netflix late last year, it was nothing less than a bombshell. The ten-part documentary riveted audiences and saw questions about the case surrounding Steven Avery and his family spill online, where further discussion took place about every angle of the story. So naturally, Hollywood has coming calling. Read […]
The post ‘Making A Murderer’ Team To Direct Pharmaceutical TV Drama Produced By George Clooney appeared first on The Playlist. »
- Kevin Jagernauth
‘Middle School’ Trailer: These Kids Just Can’t Handle the Rules Anymore
52 minutes ago | Slash Film | See recent Slash Film news »
After delivering the bumbling comedy Paul Blart: Mall Cop, director Steve Carr is heading into the world of young adults with an Middle School: The Worst Years of My Life, an adaptation of the book of the same name by James Patterson. With flairs of Ferris Bueller’s Day Off, Matilda and Diary of a Wimpy […]
The post ‘Middle School’ Trailer: These Kids Just Can’t Handle the Rules Anymore appeared first on /Film. »
- Ethan Anderton
Happy Birthday Tupac Shakur – ‘All Eyez On Me’ Trailer Drops On Iconic Rapper’s B-Day
56 minutes ago | Deadline | See recent Deadline news »
Tupac Shakur would have been 45-years old today if the legendary rapper hadn't been gunned down in Las Vegas in September 1996. To celebrate the ‘California Love’ artist’s birthday, the Benny Boom directed and long- in-the-making biopic All Eyez On Me dropped its first trailer today. Just 1-minute long, the first look pulls no punches with Tupac’s mother’s voice heard warning him "like all black men, you have a bullseye on your back.” The Danai Gurira played Afeni… »
Review: The ‘Aquarius’ Two-Hour, Commercial-Free Season 2 Premiere Blends the Best of Summer Movies & TV
1 hour ago | Indiewire | See recent Indiewire news »
Late in the movie-esque premiere of “Aquarius,” David Duchovny’s rambunctious detective Sam Hodiak scolds a fellow cop in a delightfully specific manner. You see, the young buck contaminated a piece of evidence by not using gloves, infuriating his commanding officer who’d been receiving pictures of kidnapped women in the mail for a few days already. He wants to get this guy, and his own team is letting him down! But Hodiak’s condescension isn’t fierce or ugly; instead, it’s marked with an infectious wink and smile — even though we know better.
And you do. The content itself is somewhat familiar, as is the dynamic of a superior officer chastising a rookie boy in blue, but the striking aspect of the exchange — beyond Duchovny’s addictive charm — is that while they bicker back and forth, we know the clue in question is opposite in nature of their superfluous exchange. And when Hodiak pulls open the envelope and sees what’s inside, the mood darkens and the laughs disappear.
This much might feel familiar and with good reason. “Aquarius” is largely the same show it was in Season 1 — which is fine. Big issues (like race) remain relevant, but tertiary; Charles Manson is a plot driver, but can’t stack up against Hodiak as a character; there’s fun to be had (nothing beats when Hodiak gives zero fucks), but business to take care of (broadcast cop cliches cannot be avoided). Yet beside the special presentation of the premiere episode — which really does add a grandiose atmosphere to the proceedings — there is one significant change: Women fare better in Season 2 than they did in Season 1.
Within these opening hours, two of last season’s most notable ladies get more definition than they did in 13 a year ago. Charmain (Claire Holt), a young cop looking to break into undercover work despite a gender bias in the Lapd, was on the right path by the end of Season 1, and she delves into an aptly risky storyline that will have to be handled with care. She’s become an extremely compelling character; one that threatens to rival Grey Damon’s Shafe as our second favorite of the show (behind Hodiak, of course). In addition, Hodiak’s new boo, Grace (Michaela McManus) takes a stand that defines her far better — and in a more complicated way — than any of her prior choices.
More named-but-disposable female characters are still the damsels in distress waiting for Sir Sam to save them, but opening with layered character analysis of the two most prominent women reassures us of the series’ feminist mentality. And this is key for “Aquarius” not only in the public eye, but in succeeding overall. John McNamara’s dark period piece has a knack for injecting infectious humor into every other scene, but tonally that demands the drama earn its levity — and it does. It was easy to fall for the series’ charms in Season 1, but “Aquarius” only now justifies them.
That being said, Season 2 sees a slight shift toward more serious content in its first two hours, and NBC’s uninterrupted presentation perfectly establishes the new year. The two-hour cut is actually three episodes worth of content diced together to become something filmic, if not fully cinematic. There’s a well-utilized time jumping element that will last throughout the season. Known historic events take precedence for the first time, building to a crescendo you may only fully appreciate if you’re steeped in Manson lore. And the performances overall improve, namely Gethin Anthony’s challenging portrayal of a future mass murderer. Titled “Helter Skelter,” Season 2’s introduction can’t quite stand on its own as a movie, but you wouldn’t want that. “Aquarius” is a TV show for a reason, and one that you want to spend time with — even when things turn grisly.
Thankfully, McNamara & Co. still find ways to allow Duchovny to be Duchovny — the delightful, uncensored quipster who takes nothing seriously until, you know, it matters. There’s something both admirable and frustrating in the series’ refusal to dive head first into its stars most watchable attributes — which, I imagine, is both what NBC wants and knows better than to ask for; “Aquarius” isn’t your typical cop show. It strives for more, and it merits that ambition in Season 2.
Grade: B+
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- Ben Travers
‘Hamilton’: Lin-Manuel Miranda to Film with Original Cast Before Exiting
1 hour ago | Collider.com | See recent Collider.com news »
Plus, fans can look forward to the PBS documentary 'Hamilton's America' sometime around this October. »
- Dave Trumbore
Neuchatel fest unveils line-up
1 hour ago | ScreenDaily | See recent ScreenDaily news »
Swiss Army Man, starring Daniel Radcliffe, to receive European premiere at genre film festival.
Neuchatel International Fantastic Film Festival (Nifff) has unveiled the line-up for its 16th edition, set to run July 1-9.
The Swiss festival, which spotlights genre and Asian cinema, has 14 titles in this year’s international competition, including quirky buddy movie Swiss Army Man, starring Daniel Radcliffe and Paul Dano.
The film, directed by Dan Kwan and Daniel Scheinert, debuted at Sundance in January and will receive its European premiere at Nifff.
Other European premieres include Christopher Smith’s Detour and Babak Anvari’s Under the Shadow, »
- michael.rosser@screendaily.com (Michael Rosser)
Aclu Encourages New York To Pass Bill Which Links Film Incentives to Diversity
1 hour ago | Indiewire | See recent Indiewire news »
The American Civil Liberties Union (Aclu) is asking legislators in New York to pass a bill that would give financial incentives to television shows that hire more women and minority writers and directors, according to Deadline.
With white males dominating the film and television industry, Aclu hopes that New York’s $420 million annual tax incentives sets aside at least $5 million towards the hiring diverse and talented employees.
Read More: Adult Swim: Out of 47 Shows On their Current Slate, None Have Been Created By Women
Melissa Goodman, director of the Lgbtq, Gender and Reproductive Justice Project at the Aclu SoCal, states that discrimination in the TV industry is a serious civil rights problem that affects everyone.
“Excluding the voices of women and people of color from one of our most powerful cultural products reinforces stereotypes and bias people experience in their everyday lives,” she says. “It’s clear that the industry needs the incentives called for in this bill, along with external pressure from civil rights enforcement agencies, to finally fix this long-running, entrenched problem.”
The DGA recently reported that in the 2014-2015 network and cable season, 69 percent of episodes were directed by white men, men of color directed 15 percent, white women directed 13 percent and women of color only 3 percent. In the WGA, white women made up 30 percent of TV writers, while 13 percent were minorities.
Read More: Oprah Winfrey, Amy Poehler & More Join ‘United States of Women’ Summit At White House
Goodman is also teaming up with local Aclu to have the U.S. Civil Rights Commission investigate the underemployment of female TV and film helmers. Their overall stance is to promote equal opportunities behind the camera, put countless New Yorkers to work and ensure that everyone’s stories get told.
“New York is an entertainment capital and a progressive leader. By creating incentives for equity and inclusion in television, the state has a powerful opportunity to promote greater awareness of how we perceive race and gender, and how we act on those perceptions — how a police officer views a black man; how a teacher treats a Latino child; what a young girl believes she can accomplish when she grows up,” stated Bernadette Brown, deputy legislative director for the New York Civil Liberties Union.
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- Liz Calvario
Will Fox Soon Clarify The Future Roles For Jim Gianopulos And Stacey Snider?
1 hour ago | Deadline | See recent Deadline news »
After the recent moves at Sony's film and television divisions, the town is buzzing that the next major to declare some changes – or at least clarify future direction — could come at Fox, and we should more as soon as later today. All kinds of rumors have been swirling regarding Fox Filmed Entertainment chairman/CEO Jim Gianopulos and 20th Century Fox Film co-chairman Stacey Snider. While Sony made changes, I'm hearing the likelihood is that Fox will clarify the direction… »
Stacey Snider Expected to Succeed Jim Gianopulos at Fox Despite Rocky Start (Exclusive)
1 hour ago | Variety - Film News | See recent Variety - Film News news »
Twentieth Century Fox Co-Chairman Stacey Snider is in position to succeed Jim Gianopulos as sole head of the film studio, where she has yet to make a significant mark after 17 months as his No. 2, Variety has learned.
The power shift was expected to take place next June, when Gianopulos’ contract expires, but it appears that timetable is being expedited, according to multiple sources familiar with the situation.
The long-gestating transition — that Fox has yet to acknowledge publicly — is causing unease among fellow executives who are loyalists to chairman and CEO Gianopulos. Having been hand-picked for the job by Rupert Murdoch, Snider has failed to define a role for herself on the studio’s Century City lot, which has left many insiders confused, frustrated and in some cases resentful.
Over the years, Snider, 55, had built a reputation as a smart executive with creative chops and strong talent relationships. She’s held top posts from TriStar Pictures to Universal Pictures and most recently had an eight year run at Steven Spielberg’s DreamWorks studio. But Fox sources said Snider has not carved out a significant perch at a studio whose multi-division structure already features strong, decisive leaders: Elizabeth Gabler, running Fox 2000; Emma Watts, heading production at the main studio; Steve Gilula and Nancy Utley overseeing Fox Searchlight.
Insiders suggest that seasoned executives at the studio have chafed under the prospect of an outsider calling the shots at an operation that was viewed as well-oiled before her arrival at the studio in November, 2014.
Snider’s hire, orchestrated by Fox supreme leader Rupert Murdoch, suffered from awkward timing. She joined Fox at the end of a year when the studio had won the box office wars for the first time in three decades with a record $3 billion in global ticket sales. Although Gianopulos announced Snider’s hiring and publicly embraced it, he and his lieutenants privately were mystified by her appointment, believing that the studio was running smoothly, sources said.
Even as she was brought on board, a press account quoted an unnamed studio executive asking “Why do we need her?” If more evidence was needed that not everyone wanted a spot on Team Stacey, it came with the revelation that Fox veteran Gabler had no intention of changing the terms of her contract that stipulated she reported directly to Gianopulos.
Snider told people that she would take a year to study the Fox system and ease her way into leadership. She didn’t want to threaten “the finest group of executives and filmmakers in the business,” as she described the Fox incumbents.
Snider has since been scrambling to find an open seat at the Fox table. From the get-go and into recent weeks, Snider has complained to agents and business associates that her role at Fox was undefined and that her underlings have made it difficult for her to assert herself. But, some insiders view that as Snider unfairly playing the victim rather than being more pro-active in landing big projects and making her own mark. Some suggest that perhaps Snider’s lack of assertiveness is a function of her simply biding her time and choosing not to step on her colleagues’ toes, believing that she was poised to replace Gianopulos as head of the studio.
“She was hired by Rupert Murdoch and brought here without a mandate,” said one Fox executive, who declined to be named discussing corporate intrigue that he described as “a minefield.” “She has certain allies who support her. But there is speculation and great fear within this organization that the Murdochs may be unaware (that) she (was) able to sell them a bill of goods that she cannot deliver.”
Rupert Murdoch and his sons and heirs James and Lachlan, who now oversee Fox, declined interview requests.
People at Fox said Gianopulos loves his job and is not ready to be replaced, any more than former Warner Bros. president Alan Horn was ready to pass the baton to a younger generation of managers when Time Warner CEO Jeff Bewkes pulled the cord on his highly successful 12-year run.
Gianopulos, 65, who may be elevated to Fox parent 21st Century Fox, has been a strong leader from his earlier days building the studio’s international business into the industry gold standard to his 16 years at the helm of Fox. He has guided Fox amidst massive industry changes and technological disruption as the studio’s conduit to Silicon Valley.
Sources said he has been very supportive of Snider’s desire to step up in areas in which she thought the studio was deficient, including franchise development and animation. “She’s been testing the fence throughout the organization to try to find a hole she can get through,” said one Fox insider. Three other executives close to the studio independently offered the same commentary on Snider’s tenure, saying, “I don’t know what she does.”
Some initially viewed Snider as moving slowly and deliberately, like a diplomat navigating a new land, but many of those people say she remains an ambassador largely without portfolio. She has not produced a signature project, acquired significant intellectual property or changed Fox’s world view – as might have been expected for the executive once described as the entertainment business’s “next Sherry Lansing.”
After their own period of becoming more acquainted with the empire built by their father, James and Lachlan Murdoch are now seen as beginning to assert themselves. They pushed for a buyback program at Fox’s film and television units that shed as many as 400 jobs, and recently ousted Greg Gelfan, the studio’s longtime head of the studio’s business affairs, over Gianopulos’ objections, sources say.
The removal of Gelfan was viewed by many as a major break with the old guard. The tough-talking lawyer negotiated many deals with film talent and kept costs low – making him a hero to his overseers inside Fox and an enemy to agents and others who struggled to get top dollar from Fox for their clients. “Nobody knew the business better than Greg,” said one executive intimately familiar with the studio’s operations.
Supporters of Snider say that Fox executives have not done enough to integrate her into the studio’s hierarchy. There are reports that other executives have tried to keep her on the periphery.
“I have utmost respect for her. I think she is a really great manager and leader,” said an executive who has worked with Snider before and has followed the saga closely. “I get the feeling they didn’t want her and they have made it clear they didn’t want her.”
But those arguments cut no ice with other studio veterans.
“She started in an era when just having the chairman’s title meant that everyone rolled out the red carpet. But now you have to be a little more entrepreneurial,” said the executive, who declined to be named. “The chairman’s title, alone, gives you the wherewithal to get things done.”
One agent described his excitement in November, 2014 when Snider arrived at Fox, hoping that the new boss would open avenues for his clients. But he contrasted that with a recent meeting in which Snider agreed he had a good talent prospect but declined to find a project at Fox that suited the newcomer. Instead, Snider told the agent he should work through production chief Watts. The agent remains hopeful that Snider’s powers will expand. “It’s sad in that it’s been a year and half and there is not one movie that has been a ‘Stacey movie…at least that I know of,’” he said.
“That is so frustrating,” he added. “If Stacey can’t drive something forward herself and has to work through Emma then she seems like a lame duck at the studio. And she has been.”
There has been no love lost between the two executives, according to multiple sources at the studio. Watts’ future prospects at the studio under a Snider regime remain unclear. Speculation among insiders ranges from Snider promoting her and bringing in her own production chief to showing her the door.
Snider’s style has also irked people on and off the lot. Even as she tried to delegate decision-making to staffers, her notes to filmmakers and her constant invocation of Spielberg (“Steven would have done it this way”) have rubbed some top directors the wrong way, according to two insiders. Those sources said there was a lot of tension between Snider and “Independence Day” director Roland Emmerich, which he denies.
“It’s not accurate,” Emmerich told Variety. “Me and Stacey are a lot in sync.” He added that he’s known her for 25 years and considered her a friend.
Emmerich credited Snider with helping him remain calm during a difficult “Independence Day: Resurgence” shoot. The film scrambled to make its summer 2016 release date, requiring crew members to spend the final month of production completing a massive 1,000 visual effects shots.
“We got greenlit a little bit too late,” said Emmerich, adding, “I looked at the schedule and went ‘my god we’re missing two months.”
Snider, Emmerich said, was “my cheerleader,” and kept telling him, “you’re going to make it. You can do this.”
Director Ridley Scott’s publicist Simon Halls refuted a rumor that his director client had a run in with Snider over “The Martian.”
“Stacey, in my opinion, is one of the brightest, most talented executives in the business,” said Halls. “I have known and admired her for years. She worked very closely with us on ‘The Martian’ and she was extremely effective in her efforts to help the studio mount a robust and, ultimately effective, Oscar campaign for the film.”
To be sure, Snider has many fans in the creative and business circles, not the least of which are her former bosses, Spielberg, Jeffrey Katzenberg and David Geffen.
“I have no idea about the gossip in town but I can tell you it’s not very valuable,” said Geffen by phone Thursday from Italy. “It’s laced with envy or jealousy or whatever. She is an extraordinarily talented executive. I worked with her for years and I can tell you, she is as good as it gets.”
He said that DreamWorks suffered financial challenges, like many companies, during the Great Recession but that the studio’s principal,Spielberg, remained so high on Snider that he would not let her out of her contract, when Fox came calling. “I don’t know if these other people talk to Rupert Murdoch and Jim Gianopulos, but I do frequently,” added Geffen. “and I only get great reports about Stacey from them.”
Any recriminations would have been hard to imagine at the storybook opening of Snider’s Hollywood career. She was the rare executive who managed to be both a canny player of studio politics and a favorite in the creative community. The combination helped her, while still in her early 30s, to drive Universal from an also-ran to near the top of the box office heap.
However, her years as the top executive at DreamWorks were much shakier. Snider had a decidedly mixed track record with her movie slates. Films such as “Lincoln” and “The Help” — which had notable partners including Fox and Participant Media — connected with audiences, but they were weighed down by laggards such as “Delivery Man,” “Need for Speed,” and “The Fifth Estate,” all of which hemorrhaged millions.
Time will tell what Snider’s ultimate measure of success will be during her tenure at Fox. What does seem certain is that her ascension to No. 1 will not be without a lot of tumult and further executive changes before the dust settles.
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- Brent Lang and James Rainey
‘Central Intelligence’ Review Roundup: Critics Think Dwayne Johnson & Kevin Hart Have Chemistry, But Script Lacks
1 hour ago | Indiewire | See recent Indiewire news »
This summer’s latest action comedy, Warner Bros’ “Central Intelligence,” pairs Dwayne Johnson and Kevin Hart as former high school classmates who reunite for a top-secret CIA mission. While some critics acknowledge the fun, buddy-comedy aspect of the film, most agreed that the chemistry between the two leads couldn’t make up for lackluster writing and plot.
Read More: ‘Central Intelligence’ Review: Dwayne Johnson Wrestles Some Big Laughs From A Weak Buddy Comedy
Moira Macdonald of The Seattle Times was not impressed with the movie’s execution, and writes, “Sometimes, matches seemingly made in heaven end up somewhere closer to hell. Whoever thought up the idea of pairing Dwayne Johnson and Kevin Hart for a crime/caper/comedy was right on the money: The blend of Johnson’s laid-back hero-dudeness and Hart’s whippet-fast comic timing should have been good fun. But somebody, alas, had an idea, though not a good one: Make Johnson the comedian and Hart the straight man. The result is kind of like having ice cream for dinner and steak for dessert — it seems like it might work, but it doesn’t.”
IndieWire’s David Ehrlich was equally unimpressed: “With a tepid studio offering like this, in which themes include such bold ideas as “bullies are bad,” “guns are fun,” and “all those haters from high school would worship you if you weren’t so fat,” there’s no hope that Johnson might dive off the deep end and create something special.”
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Jon Frosch of The Hollywood Reporter was a bit more optimistic, writing, “It capitalizes on the chemistry between Hart and Johnson, who convey what seems like genuine delight in each other’s company – something that gives this bromantic diversion a giddy kick.” He adds, however, that “The bar for studio comedies has sunk so low that when one comes along and doesn’t bludgeon you with its ineptness, there’s a temptation to lavish praise on it.”
Variety’s Owen Gleiberman agrees: “It delivers – on some basic, giddy, turn-off-your-frontal-lobes level. It’s an action-comedy utensil, like ‘Rush Hour’ crossed with an old Arnold Schwarzenegger shoot-’em-up, with a few goofy added sprinkles of ‘Romy and Michele’s High School Reunion.'”
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While many reviews praised the leads while critiquing the film as a whole, Neil Pond of Parade Magazine loved it all. He argues that “If comedy is art, ‘Central Intelligence’ wants to make sure the canvas is well covered—it’s got a big, tall brush, a short, little brush and some very funny painters.”
“Central Intelligence” hits theaters June 17.
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- Kate Halliwell
Broadway’s ‘Hamilton’ Getting Filmed With Original Cast
1 hour ago | Slash Film | See recent Slash Film news »
Hamilton is the rare cultural phenomenon that’s largely enjoyed by people who haven’t actually seen it. Not for lack of interest, mind you, but because Hamilton tickets are basically impossible to get at this point. And creator and star Lin-Manuel Miranda broke a lot of hearts last month when he set a July exit date and predicted a Hamilton movie […]
The post Broadway’s ‘Hamilton’ Getting Filmed With Original Cast appeared first on /Film. »
- Angie Han
Quentin Tarantino & Rita Moreno Receive Honorary Degrees from the AFI Conservatory
1 hour ago | Indiewire | See recent Indiewire news »
116 students graduated from the AFI Conservatory today, but they weren’t the only ones awarded degrees at the Tcl Chinese Theatre in Hollywood. Quentin Tarantino and Rita Moreno both accepted honorary Doctorate of Fine Art degrees from the American Film Institute, which first began educating filmmakers in 1969.
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“We are proud of our history and we embrace change,” said AFI Conservatory Dean Jan Schuette. “And it shows today, in the level of work our Fellows create, how they interact, their talent, their communication, their commitment.” Tarantino is well known for having educated himself by working at a video store and obsessing over movies that way, making this honor from AFI hist most official academic laurel. Moreno — a rare Egot (Emmy, Grammy, Oscar and Tony) winner most familiar to moviegoers for her role in “West Side Story” — also bypassed film school.
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AFI awards honorary degrees during its graduation ceremony every year. Recent recipients include Angela Lansbury and Lawrence Kasdan, while past honorees range from Robert Altman and Kathryn Bigelow to Spike Lee and Anne V. Coates.
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- Michael Nordine
The Mission Begins In First Trailer For WWII Thriller ‘Anthropoid’ Starring Cillian Murphy & Jamie Dornan
1 hour ago | The Playlist | See recent The Playlist news »
You might not know the name Sean Ellis, but you may know of his work. The director first earned some buzz with his 2006 effort “Cashback,” but it was 2013’s acclaimed thriller “Metro Manila” that truly put him on the radar. Picking up numerous honors for that film, including an Audience Award at the Sundance […]
The post The Mission Begins In First Trailer For WWII Thriller ‘Anthropoid’ Starring Cillian Murphy & Jamie Dornan appeared first on The Playlist. »
- Kevin Jagernauth
‘Wicked’ Movie Gets 2019 Release Date
1 hour ago | Variety - Film News | See recent Variety - Film News news »
The long-awaited “Wicked” movie adaptation will be released on Dec. 20, 2019.
Stephen Daldry is directing the big-screen adaptation of the hit Broadway musical for Universal.
The Tony Award-winning stage musical was adapted from Gregory Maguire’s bestselling novel by book writer Winnie Holzman and Oscar-winning composer/lyricist Stephen Schwartz, who are also collaborating on the screenplay adaptation.
“Wicked” is produced on Broadway by Platt, Universal Stage Productions, the Araca Group, Jon B. Platt and David Stone.
The original Broadway production about the untold story of the Witches of Oz starred Idina Menzel and Kristin Chenoweth.
More to come.
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- Maane Khatchatourian
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