Today, Good Morning America and Disney+ released the official trailer and poster for Descendants: The Rise of Red, the next installment in the megahit Descendants franchise.
The music-driven Disney Original movie starts streaming exclusively on Disney+ on Friday, July 12. It will then have a special encore on Friday, Aug. 9, at 8:00 p.m. Edt/Pdt on Disney Channel.
Former Villain Kid (aka Vk) Uma, now Auradon Prep’s newest principal, extends an invite to the school to another Vk — Red, the rebellious daughter of the Queen of Hearts from Wonderland.
After the Queen of Hearts incites a coup against Auradon, Red and Cinderella’s daughter Chloe travel back in time to undo the traumatic event that set Red’s mother down her villainous path.
Descendants: The Rise of Red stars Brandy, Rita Ora, Kylie Cantrall, Malia Baker, China Anne McClain, Jeremy Swift, Dara Reneé, Ruby Rose Turner, Morgan Dudley, Paolo Montalban,...
The music-driven Disney Original movie starts streaming exclusively on Disney+ on Friday, July 12. It will then have a special encore on Friday, Aug. 9, at 8:00 p.m. Edt/Pdt on Disney Channel.
Former Villain Kid (aka Vk) Uma, now Auradon Prep’s newest principal, extends an invite to the school to another Vk — Red, the rebellious daughter of the Queen of Hearts from Wonderland.
After the Queen of Hearts incites a coup against Auradon, Red and Cinderella’s daughter Chloe travel back in time to undo the traumatic event that set Red’s mother down her villainous path.
Descendants: The Rise of Red stars Brandy, Rita Ora, Kylie Cantrall, Malia Baker, China Anne McClain, Jeremy Swift, Dara Reneé, Ruby Rose Turner, Morgan Dudley, Paolo Montalban,...
- 5/23/2024
- by Mirko Parlevliet
- Vital Thrills
Today, Disney+ released a new teaser and poster for Descendants: The Rise of Red, the next installment in the mega-hit Descendants franchise that features the teenage progeny of iconic Disney heroes and villains. The music-driven Disney Original movie starts streaming Friday, July 12, exclusively on Disney+, followed by a special encore Friday, August 9, at 8:00 p.m. Edt/Pdt on Disney Channel.
The latest teaser introduces Kylie Cantrall as Red, princess of the hostile kingdom of Wonderland and Auradon’s newest Villain Kid (aka Vk), who is caught “red-handed” by Malia Baker, who plays Chloe, the daughter of Cinderella and King Charming.
Descendants: The Rise of Red follows Red, the rebellious daughter of the Queen of Hearts, and Chloe, Cinderella’s perfectionist daughter. When the tyrannical Queen of Hearts incites a coup against Auradon, polar opposites Red and Chloe must join forces and travel back in time to undo the traumatic...
The latest teaser introduces Kylie Cantrall as Red, princess of the hostile kingdom of Wonderland and Auradon’s newest Villain Kid (aka Vk), who is caught “red-handed” by Malia Baker, who plays Chloe, the daughter of Cinderella and King Charming.
Descendants: The Rise of Red follows Red, the rebellious daughter of the Queen of Hearts, and Chloe, Cinderella’s perfectionist daughter. When the tyrannical Queen of Hearts incites a coup against Auradon, polar opposites Red and Chloe must join forces and travel back in time to undo the traumatic...
- 4/2/2024
- by Mirko Parlevliet
- Vital Thrills
The inaugural Children’s & Family Emmys got underway at the Wilshire Ebell Theatre in Los Angeles for a two-night gala to award the best in kid-friendly programming. JoJo Siwa hosted the Creative Arts ceremony on Night 1 and Jack McBrayer took over hosting duties on Night 2 with the rest of the categories.
On Night 1, it was Maya and the Three, Sneakerella and The Quest that took the most accolades with three trophies each.
Some of the first night’s highlights included a special performance by Xomg Pop!, the all-girl group created by Jess and Siwa. There was also an appearance from Martin P. Robinson, the legendary puppeteer who has been with Sesame Street since 1980, providing voices and puppeteering for Mr. Snuffleupagus, Telly Monster, Slimey the Worm, Martians and more. He also built, designed and performed the Audrey II puppets for Little Shop of Horrors.
Night 2 of the...
On Night 1, it was Maya and the Three, Sneakerella and The Quest that took the most accolades with three trophies each.
Some of the first night’s highlights included a special performance by Xomg Pop!, the all-girl group created by Jess and Siwa. There was also an appearance from Martin P. Robinson, the legendary puppeteer who has been with Sesame Street since 1980, providing voices and puppeteering for Mr. Snuffleupagus, Telly Monster, Slimey the Worm, Martians and more. He also built, designed and performed the Audrey II puppets for Little Shop of Horrors.
Night 2 of the...
- 12/12/2022
- by Armando Tinoco
- Deadline Film + TV
What hooks and disarms audiences minutes after clicking play on “Better Nate Than Ever” is its infectious energy. George Benson’s funk cover of “On Broadway,” used decades earlier in “All That Jazz,” makes for a lively introduction to a spirited, small-statured youth’s big personality. Writer-director Tim Federle welcomes us into this world with the tantalizing promise of major things to come in a semi-biographical tale of an underdog chasing his dream of becoming a Broadway sensation. But before that can happen, a series of hapless, comedic misadventures has to occur. Funny, vibrant, yet schmaltzy to a fault, this Disney Plus family film can carry a tune, but falters in crafting a runaway hit.
Thirteen-year-old Nate (Rueby Wood) loves musicals. That much is clear from the “Music Man” and “Redhead” posters that line the walls of his bedroom and the “Wicked” references he drops in casual conversations with cool-tempered...
Thirteen-year-old Nate (Rueby Wood) loves musicals. That much is clear from the “Music Man” and “Redhead” posters that line the walls of his bedroom and the “Wicked” references he drops in casual conversations with cool-tempered...
- 3/29/2022
- by Courtney Howard
- Variety Film + TV
The title card that opens writer-director Eugene Ashe’s Sylvie’s Love (now streaming on Amazon) informs us that we’re in New York City, in 1962. That announcement quickly becomes superfluous, however — as soon as you hear Nancy Wilson’s version of “The Nearness of You” over vintage yellow cabs whizzing by old-school cafeterias, cigar shops and the Canadian Club sign in Times Square, along with the sight of Tessa Thompson looking positively radiant in a radioactively blue evening gown, you know exactly where and when you are. If nothing else,...
- 12/24/2020
- by David Fear
- Rollingstone.com
Whether or not it’s a result of the backlash against “La La Land” and its white-savior-of-jazz subplot, black filmmakers seem to be having a moment to reclaim jazz narratives for themselves, from Kemp Powers co-directing Pixar’s “Soul” to Eugene Ashe writing and directing “Sylvie’s Love,” a gorgeous new romance set against the backdrop of jazz and television, two of America’s most dominant artforms of the 1950s.
Ashe isn’t rewriting the love story, but he has steeped it with old-school glamour, making the kind of sumptuous saga of aching, star-crossed romance that Ross Hunter might have produced in his 1960s glory days if Hollywood had been ready to populate such a film with an all-Black cast. Between the scorching chemistry of leads Tessa Thompson and Nnamdi Asomugha and the glorious mid-century outfits, hair, décor and cars on display, “Sylvie’s Love” is a delectable valentine.
When Sylvie (Thompson) and Robert meet,...
Ashe isn’t rewriting the love story, but he has steeped it with old-school glamour, making the kind of sumptuous saga of aching, star-crossed romance that Ross Hunter might have produced in his 1960s glory days if Hollywood had been ready to populate such a film with an all-Black cast. Between the scorching chemistry of leads Tessa Thompson and Nnamdi Asomugha and the glorious mid-century outfits, hair, décor and cars on display, “Sylvie’s Love” is a delectable valentine.
When Sylvie (Thompson) and Robert meet,...
- 12/22/2020
- by Alonso Duralde
- The Wrap
They don’t make ’em like this anymore, but then again, they never really did. An unfailingly sincere melodrama that’s as warm and old-fashioned as someone draping their cardigan over a pair of cold shoulders on a cold August night, “Sylvie’s Love” is such a straightforward throwback to the Sirkian “women’s pictures” Hollywood used to churn out for white housewives that it’s difficult to say what’s more delightfully jarring about it: That a dead genre has been given resurrected for the kind of Black period love story that it was never allowed to tell, or that writer-director Eugene Ashe has done so without even the slightest wink of irony.
Superficial comparisons to “La La Land” might be inevitable considering the film’s star-crossed shape and bebop-obsessed male lead (brace for another one of those guys who isn’t sure if he needs to save jazz or...
Superficial comparisons to “La La Land” might be inevitable considering the film’s star-crossed shape and bebop-obsessed male lead (brace for another one of those guys who isn’t sure if he needs to save jazz or...
- 12/22/2020
- by David Ehrlich
- Indiewire
Having worked in a bookstore for much of my university life, I was definitely aware that Vikram Seth’s “A Suitable Boy” was something special. But it did not intrigue me enough to delve into the 1500 pages long acclaimed novel. So, when I heard about the BBC mini-series, I was quite excited to find out what the fuss was all about. The excitement grew even more when Mira Nair’s name was mentioned. A maker par excellence, I was really keen to see her flaunt her talent in this long film format. And that she did. The fact that A Suitable Boy still manages to stay with you long after the 6th and final episode concludes, despite its glaring flaws is a huge compliment to the maker.
What are those glaring flaws you ask? Well, on a key aspect of a piece of cinema, language. Set in 50s India, the characters speak English.
What are those glaring flaws you ask? Well, on a key aspect of a piece of cinema, language. Set in 50s India, the characters speak English.
- 11/20/2020
- by Prathna Tiwari
- Bollyspice
What exactly is Disney+’s filmed version of “Hamilton”? Is it akin to a documentary, with a film crew observing the performance in the same way as its live audience? Or is it a narrative film, where the set just happens to be the stage of Broadway’s Richard Rodgers Theatre?
When talking about painstakingly produced, filmed versions of stage productions like this, co-executive producers Jon Kamen and Dave Sirulnick of RadicalMedia offer some novel terminology: cinematic interpretation.
“Part of what makes something a cinematic interpretation is the planning, the preparation, the attention to detail brought to these, and treating them as a separate work. When we first sat down with Lin[-Manuel Miranda] and Tommy [director Thomas Kail] and Jeffrey Seller, the producer, the first question was understanding their vision for what they wanted to achieve with a filmed version of this incredible piece of art they had made,” Sirulnick, RadicalMedia’s president of entertainment,...
When talking about painstakingly produced, filmed versions of stage productions like this, co-executive producers Jon Kamen and Dave Sirulnick of RadicalMedia offer some novel terminology: cinematic interpretation.
“Part of what makes something a cinematic interpretation is the planning, the preparation, the attention to detail brought to these, and treating them as a separate work. When we first sat down with Lin[-Manuel Miranda] and Tommy [director Thomas Kail] and Jeffrey Seller, the producer, the first question was understanding their vision for what they wanted to achieve with a filmed version of this incredible piece of art they had made,” Sirulnick, RadicalMedia’s president of entertainment,...
- 7/18/2020
- by Chris Lindahl
- Indiewire
Lin-Manuel Miranda is currently living in the past. Or maybe it’s that, at this particular moment in time, the past just seems to keep catching up with him, tapping him on the shoulder, nudging him in the ribs. The 40-year-old playwright/actor/director/producer has spent the previous week watching Hamilton — the musical about one of our nation’s founding fathers that went from off-Broadway hit to Broadway gamechanger to cultural phenomenon — once again become a heavily debated, must-see national obsession, courtesy of a four-year-old idea. Back in 2016, when...
- 7/10/2020
- by David Fear
- Rollingstone.com
This weekend, the filmed version of the record breaking Broadway musical Hamilton finally came to the masses. Dropped on Disney Plus, Hamilton has quickly drawn rave reviews (including our own right here), leading to some awards speculation. Namely, is this eligible for Oscar attention? If so, will the Academy go for it? Today, we begin to dive a bit into those somewhat muddy waters. In short…the rules are likely to deem it eligible for the Academy Awards (barring a surprise), but voters may well end up a bit on the skeptical side. That being said, it’s early, so a lot can change. In case you don’t know, this is a combination of a few live performances in 2016 of the smash-hit Broadway show of the same name. It tells the story of the life of one of America’s foremost (and arguably most underrated) founding fathers, as well...
- 7/5/2020
- by Joey Magidson
- Hollywoodnews.com
Who lives, who dies, who tells your story? When it comes to the life of Alexander Hamilton, Lin-Manuel Miranda has proven to be an incredible storyteller. Everyone knows of the stage production Hamilton, but not everyone got a chance to see it. Well, come Friday, a filmed version drops on Disney+, offering up an opportunity for the masses to finally take in Miranda’s masterpiece. Having never seen the show or really heard the music, I went into it pretty blind earlier this week when I put on the screener. Hamilton was obviously a once in a lifetime Broadway event, but it does seem to have lost nothing in the translation to the big screen. Wow. Just…wow. The film is a combination of a few live performances in 2016 of the smash-hit Broadway show of the same name. It tells the story of the life of one of America’s...
- 7/2/2020
- by Joey Magidson
- Hollywoodnews.com
No, it’s not really a “movie” in the sense of an all-out, bells-and-whistles Hollywood extravaganza. The Hamilton that debuts on Disney+ starting July 3rd is a live-performance film of Lin-Manuel Miranda’s ground-breaking, history-making Broadway musical that told the story of Alexander Hamilton (“the ten-dollar Founding Father”) in an electrifying, hip-hop style. It’s an indisputable classic. Even folks who never got to see the show when it first opened on Broadway have heard the score that went six-times platinum and became the best-selling cast album of all time.
- 7/1/2020
- by Peter Travers
- Rollingstone.com
Director Spike Lee aimed his cameras at, and adjusted the visual beats on, David Byrne’s American Utopia, the acclaimed Broadway show which previewed at the Hudson Theatre on Oct. 4, 2019 and ran until Feb. 16, 2020. The David Byrne/Spike Lee joint will now light up at HBO later this year.
“It is my honor and privilege that my art brother, Mr. David Byrne, asked me to join him in concert, to invite me into his magnificent world of American Utopia,” Spike Lee said in a statement. “And dat’s da ‘once in a lifetime’ truth, Ruth. Ya-dig? Sho-nuff. Peace and love. Be safe.”
Lee isn’t the first director to see the cinematic potential in Byrne’s stage shows. The 1984 concert film Stop Making Sense, was directed by Jonathan Demme. “Spike and I have crossed paths many times over the years, obviously I’m a huge fan and now finally here...
“It is my honor and privilege that my art brother, Mr. David Byrne, asked me to join him in concert, to invite me into his magnificent world of American Utopia,” Spike Lee said in a statement. “And dat’s da ‘once in a lifetime’ truth, Ruth. Ya-dig? Sho-nuff. Peace and love. Be safe.”
Lee isn’t the first director to see the cinematic potential in Byrne’s stage shows. The 1984 concert film Stop Making Sense, was directed by Jonathan Demme. “Spike and I have crossed paths many times over the years, obviously I’m a huge fan and now finally here...
- 6/16/2020
- by David Crow
- Den of Geek
HBO has landed the Spike Lee-directed version of Broadway show David Byrne’s American Utopia.
The film will launch on the premium cable network later this year and comes after Deadline revealed the filmed version of the show in January.
The Broadway production, which opened October 2019 and ran through February 16 at the Hudson Theatre, features the Talking Heads cofounder accompanied by 11 musicians from around the world performing songs from Byrne’s 2018 album American Utopia as well as hits from his Talking Heads and solo periods.
The stage musical is set to return to Broadway’s Hudson Theatre for a limited engagement beginning in September, though all Broadway immediate plans are more or less on hold as theaters remain closed due to the coronavirus.
The Broadway production featured the work of choreographer Annie-b Parson and Alex Timbers serving as production consultant, both of whom previously collaborated with Byrne on the...
The film will launch on the premium cable network later this year and comes after Deadline revealed the filmed version of the show in January.
The Broadway production, which opened October 2019 and ran through February 16 at the Hudson Theatre, features the Talking Heads cofounder accompanied by 11 musicians from around the world performing songs from Byrne’s 2018 album American Utopia as well as hits from his Talking Heads and solo periods.
The stage musical is set to return to Broadway’s Hudson Theatre for a limited engagement beginning in September, though all Broadway immediate plans are more or less on hold as theaters remain closed due to the coronavirus.
The Broadway production featured the work of choreographer Annie-b Parson and Alex Timbers serving as production consultant, both of whom previously collaborated with Byrne on the...
- 6/16/2020
- by Peter White
- Deadline Film + TV
The summer of 1957 in New York City serves as the backdrop of Eugene Ashe’s Slyvie’s Love, a story of music and romance that centers around Sylvie, a young woman waiting for her fiancé to return from war, passing the time by working at her father’s record store. However, when the charming musician Robert walks in looking for a day job to support his career as a saxophonist, Slyvie’s head is turned. They embark on a long, whirlwind romance, even as Robert books his first concert overseas. Dp Declan Quinn speaks about the various musical and period influences on Sylvie’s […]...
- 2/3/2020
- by Filmmaker Staff
- Filmmaker Magazine - Blog
The summer of 1957 in New York City serves as the backdrop of Eugene Ashe’s Slyvie’s Love, a story of music and romance that centers around Sylvie, a young woman waiting for her fiancé to return from war, passing the time by working at her father’s record store. However, when the charming musician Robert walks in looking for a day job to support his career as a saxophonist, Slyvie’s head is turned. They embark on a long, whirlwind romance, even as Robert books his first concert overseas. Dp Declan Quinn speaks about the various musical and period influences on Sylvie’s […]...
- 2/3/2020
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
In rural Appalachia, Cole (Philip Ettinger), a health aide working at a nursing home, helps make ends meet by selling off excess pills from the townspeople to other local buyers. While Cole doesn’t see himself as perpetuating a culture of addiction, he finds himself in the center of conflict between the town’s drug kingpin when a childhood friend comes back to town and encourages Cole to assert his dominance in the local drug trade. Cinematographer Declan Quinn discusses the inspiration and technique that went into Braden King’s The Evening Hour. Filmmaker: How and why did you wind up being the […]...
- 2/3/2020
- by Filmmaker Staff
- Filmmaker Magazine - Blog
In rural Appalachia, Cole (Philip Ettinger), a health aide working at a nursing home, helps make ends meet by selling off excess pills from the townspeople to other local buyers. While Cole doesn’t see himself as perpetuating a culture of addiction, he finds himself in the center of conflict between the town’s drug kingpin when a childhood friend comes back to town and encourages Cole to assert his dominance in the local drug trade. Cinematographer Declan Quinn discusses the inspiration and technique that went into Braden King’s The Evening Hour. Filmmaker: How and why did you wind up being the […]...
- 2/3/2020
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
Has there been a great feature made about the opioid crisis in America? Director Braden King is determined to answer the question “yes” with The Evening Hour, written by Elizabeth Palmore and based on the novel by Carter Sickels. And while he bites off a bit more than he can chew here, there’s a good deal that resonates.
First Reformed‘s Philip Ettinger stars as Cole, a nursing home aide who moonlights as a drug dealer. Only, he seems to have something of a moral code about the meds he’s slinging. Sure, he’s keeping a lot of townspeople addicted but he’s doing it responsibly, legitimately supporting some who can’t afford pills they need and keeping others safe from the much-worse Everett (Marc Menchaca). He carries on a half-assed relationship with Charlotte (Stacy Martin) and a general sense of calm. This all crumbles once Terry Rose...
First Reformed‘s Philip Ettinger stars as Cole, a nursing home aide who moonlights as a drug dealer. Only, he seems to have something of a moral code about the meds he’s slinging. Sure, he’s keeping a lot of townspeople addicted but he’s doing it responsibly, legitimately supporting some who can’t afford pills they need and keeping others safe from the much-worse Everett (Marc Menchaca). He carries on a half-assed relationship with Charlotte (Stacy Martin) and a general sense of calm. This all crumbles once Terry Rose...
- 1/30/2020
- by Dan Mecca
- The Film Stage
Sultry music swells as the camera swoons over a young couple in a tender nighttime embrace. The 1950s residential New York City street is carefully rain-slicked and lined with shiny classic cars: an obvious stage set. Gene Kelly might just have swung on that lamppost; Doris Day might lean out of an upstairs window to sigh at a painted moon. But the canoodling stars of Eugene Ashe’s Sundance competition title “Sylvia’s Love” are black, which is among the sole indications that this weightlessly glossy yet undeniably charming romance is a product of the 21st century. Even so, were we to find out as the credits roll that the film had actually lain undiscovered in some studio vault for five decades, aside from mild surprise that it would make Tessa Thompson quite a bit older than previously suspected, it would actually explain a lot.
More even than Declan Quinn...
More even than Declan Quinn...
- 1/29/2020
- by Jessica Kiang
- Variety Film + TV
, Braden King’s “The Evening Hour” shines on a rural Appalachian town like a golden ray of fading sunlight; as dark as the story gets, this hyper-empathetic film never fails to see its characters as decent people trying to make the best of a bad situation. This is the kind of movie that opens with someone reading a Bible verse over a shot of mountain grass swaying in the wind as the first woozy strains of Boxhead Ensemble’s score prepare to take your breath away.
Which isn’t to say that “The Evening Hour” elides the awfulness of the epidemic; that same opening shot pans across the landscape in time to see an ominous explosion in the distance. Every frame is saturated with a sense of quiet desperation. The rival drug pushers inevitably pull their guns on each other, and even the kindest intentions have a way of souring into sadness.
Which isn’t to say that “The Evening Hour” elides the awfulness of the epidemic; that same opening shot pans across the landscape in time to see an ominous explosion in the distance. Every frame is saturated with a sense of quiet desperation. The rival drug pushers inevitably pull their guns on each other, and even the kindest intentions have a way of souring into sadness.
- 1/28/2020
- by David Ehrlich
- Indiewire
A small town already down on its luck receives a few fresh kicks in “The Evening Hour.” Based on Carter Sickels’ 2012 novel, this second narrative feature from director Braden King is more plot-driven than his first, 2011’s “Here,” a leisurely and slight, if pleasant, road-trip romance. Indeed, there may be a little more content here than the film knows quite what to do with, given an opioid epidemic, related criminal intrigue and various problematic relationships crowded into a story that King prefers to let unfold somewhat passively when a more taut, suspenseful approach might seem more apt.
Still, this snapshot of life in a tapped-out Appalachian mining town holds the attention, even if it doesn’t quite maximize potential as either melodrama or character piece. In the current climate, its modest theatrical prospects will likely be outpaced by potential as a streaming item.
With his sunny disposition and natural inclination for caretaking,...
Still, this snapshot of life in a tapped-out Appalachian mining town holds the attention, even if it doesn’t quite maximize potential as either melodrama or character piece. In the current climate, its modest theatrical prospects will likely be outpaced by potential as a streaming item.
With his sunny disposition and natural inclination for caretaking,...
- 1/28/2020
- by Dennis Harvey
- Variety Film + TV
IndieWire reached out to the cinematographers behind the scripted narrative features premiering this week at Sundance to find out which cameras, lenses, and formats they used, and why they chose them to create the looks and meet the production demands of their films. Here are their responses.
Films appear in alphabetical order by title, and are organized by section:
1. U.S. Dramatic Competition
2. Premieres
3. Midnight
4. Next
5. World Dramatic Competition
Section: U.S. Dramatic Competition
“Blast Beat”
Dir: Esteban Arango, DoP: Ed Wu
Format: Red Helium 8K S35 Raw 6:5
Camera: Red Helium
Lens: Lomo Anamorphic Round
Wu: This was a film made with heart, blood, tears and soul. We fought for what we wanted creatively even though we had a limited budget for what we were trying to achieve. We knew that we wanted to make an “Uber-Metalized American Latino Adventure” movie, meaning we wanted to have some serious kick...
Films appear in alphabetical order by title, and are organized by section:
1. U.S. Dramatic Competition
2. Premieres
3. Midnight
4. Next
5. World Dramatic Competition
Section: U.S. Dramatic Competition
“Blast Beat”
Dir: Esteban Arango, DoP: Ed Wu
Format: Red Helium 8K S35 Raw 6:5
Camera: Red Helium
Lens: Lomo Anamorphic Round
Wu: This was a film made with heart, blood, tears and soul. We fought for what we wanted creatively even though we had a limited budget for what we were trying to achieve. We knew that we wanted to make an “Uber-Metalized American Latino Adventure” movie, meaning we wanted to have some serious kick...
- 1/22/2020
- by Chris O'Falt
- Indiewire
Eva Longoria has joined the cast of the forthcoming Tessa Thompson drama “Sylvie.”
From writer-director Eugene Ashe, the indie follows a young woman (Thompson) who meets an aspiring saxophonist (former NFL player and actor Nnamdi Asomugha) working at her father’s Harlem record shop in the storied New York jazz age of the late ’50s.
After a summer romance, the pair meet again years later and finds their flame never wavered.
Asomugha is producing through his iAm21 Entertainment banner alongside Jonathan Baker (“The Banker”), Gabrielle Glore (“Dirty Laundry”), and Matthew Thurm (“Crown Heights”). Thompson will serve as executive producer. Declan Quinn will serve as cinematographer.
Details of Longoria’s character are under wraps. The actress, who is mostly directing for television these days, is repped by CAA and Brillstein Entertainment Partners.
After years on ABC’s pop culture phenomenon “Desperate Housewives,” Longoria has worked largely behind the scenes in women and minority empowerment,...
From writer-director Eugene Ashe, the indie follows a young woman (Thompson) who meets an aspiring saxophonist (former NFL player and actor Nnamdi Asomugha) working at her father’s Harlem record shop in the storied New York jazz age of the late ’50s.
After a summer romance, the pair meet again years later and finds their flame never wavered.
Asomugha is producing through his iAm21 Entertainment banner alongside Jonathan Baker (“The Banker”), Gabrielle Glore (“Dirty Laundry”), and Matthew Thurm (“Crown Heights”). Thompson will serve as executive producer. Declan Quinn will serve as cinematographer.
Details of Longoria’s character are under wraps. The actress, who is mostly directing for television these days, is repped by CAA and Brillstein Entertainment Partners.
After years on ABC’s pop culture phenomenon “Desperate Housewives,” Longoria has worked largely behind the scenes in women and minority empowerment,...
- 3/7/2019
- by Matt Donnelly
- Variety Film + TV
Tessa Thompson and Nnamdi Asomugha are set to star in and produce jazz era love story, Sylvie.
Set in '50s and '60s New York City, the story follows Sylvie (Thompson) as she meets aspiring saxophonist Robert (Asomugha) when he takes a job at her father’s record store in Harlem. After a summer romance that comes to an end, the two fatefully reconnect several years later and find that their feelings for each other have never disappeared.
Eugene Ashe will direct from his own script. Cinematographer Declan Quinn (Rachel Getting Married, Leaving Las Vegas) has signed on to shoot the film....
Set in '50s and '60s New York City, the story follows Sylvie (Thompson) as she meets aspiring saxophonist Robert (Asomugha) when he takes a job at her father’s record store in Harlem. After a summer romance that comes to an end, the two fatefully reconnect several years later and find that their feelings for each other have never disappeared.
Eugene Ashe will direct from his own script. Cinematographer Declan Quinn (Rachel Getting Married, Leaving Las Vegas) has signed on to shoot the film....
- 2/22/2019
- The Hollywood Reporter - Film + TV
Tessa Thompson and Nnamdi Asomugha are set to star in and produce jazz era love story, Sylvie.
Set in '50s and '60s New York City, the story follows Sylvie (Thompson) as she meets aspiring saxophonist Robert (Asomugha) when he takes a job at her father’s record store in Harlem. After a summer romance that comes to an end, the two fatefully reconnect several years later and find that their feelings for each other have never disappeared.
Eugene Ashe will direct from his own script. Cinematographer Declan Quinn (Rachel Getting Married, Leaving Las Vegas) has signed on to shoot the film....
Set in '50s and '60s New York City, the story follows Sylvie (Thompson) as she meets aspiring saxophonist Robert (Asomugha) when he takes a job at her father’s record store in Harlem. After a summer romance that comes to an end, the two fatefully reconnect several years later and find that their feelings for each other have never disappeared.
Eugene Ashe will direct from his own script. Cinematographer Declan Quinn (Rachel Getting Married, Leaving Las Vegas) has signed on to shoot the film....
- 2/22/2019
- The Hollywood Reporter - Movie News
Kym (Anne Hathaway) carries herself with the foresight that she is damned. She takes a drag from her ever-present cigarette as she tries to compose herself before the arrival of her family, who are on their way to pick her up from rehab. Her clothes and body language, however, tell a different story. She wears a ratty emerald green coat at all times — a coat that appears a size too large as it hangs listlessly on her frail body. Kym has a perpetual downward glance that can only be achieved through shame and internalized self-hatred. Kym bears her scars for the world to see and, despite her best efforts, she cannot slip away from the glances of everyone around her who can obviously see that she is damaged in a fundamental way. She hasn’t seen much of her family over the past few years, but she’s clean now,...
- 8/10/2017
- by The Film Stage
- The Film Stage
If you’re a movie critic, you shouldn’t make any preconceptions about a film — not even if the Happy Madison logo appears or a title card saying “A Tyler Perry Film” arises. But when breathy radio personality Delilah comes before the “wonderful” film you’re about to see, singing all its benevolent praises before a single slice of celluloid appears, you have good reason to be skeptical.
Based on the phenomenally bestselling novel, The Shack tells a spiritual story of perseverance against and acceptance towards life’s unspeakable cruelties. It’s told through the perspective of Mack (Sam Worthington), a husband and grieving father, fighting to release months upon years of pain and inner torment through one-on-one interactions with Papa (Octavia Spencer), a.k.a God, Jesus (Avraham Aviv Alush) and Sarayu (Sumire), a.k.a. the Holy Spirit, in the titular shack which once housed unfathomable evil. It’s blatantly religious,...
Based on the phenomenally bestselling novel, The Shack tells a spiritual story of perseverance against and acceptance towards life’s unspeakable cruelties. It’s told through the perspective of Mack (Sam Worthington), a husband and grieving father, fighting to release months upon years of pain and inner torment through one-on-one interactions with Papa (Octavia Spencer), a.k.a God, Jesus (Avraham Aviv Alush) and Sarayu (Sumire), a.k.a. the Holy Spirit, in the titular shack which once housed unfathomable evil. It’s blatantly religious,...
- 3/3/2017
- by Will Ashton
- We Got This Covered
The third experimental cinematic endeavor from the writing/acting duo of Andre Gregory and Wallace Shawn, A Master Builder, at last reaches a notable platform of consumption with its inclusion in the Criterion collection. Their previous collaborations, My Dinner with Andre (1981) and Vanya on 42nd Street (1992), both directed by French auteur Louis Malle, have reached a sort of mythical status in the realm of art-house cinema. And so the rather hushed theatrical reception of this latest endeavor, another long-gestating exercise, this time re-working a late period play from Ibsen while Jonathan Demme usurps the directorial seat, perhaps has more to do with the fluctuating cinematic landscape. Existing, tonally, somewhere in-between the previous two ventures, this generally claustrophobic rendering doesn’t contain the same sense of innovative, inspiring energy, oscillating between moments of flaccid, rehearsed dialogue and moments of overwhelming emotional hysteria. As a filmed version of this experimental theater exercise,...
- 6/23/2015
- by Nicholas Bell
- IONCINEMA.com
The new Made in NY Media Center by Ifp has announced a round of classes and presentations for December and is offering Filmmaker subscribers a discount for the two involving transmedia. On December 7, one of today’s great cinematographers, Declan Quinn, will present a five-hour master class in the shooting of Mike Figgis’s Leaving Las Vegas. “In this Master Class, Quinn will deconstruct Leaving Las Vegas, scene-by- scene, while discussing his process, choices, obstacles, challenges – what worked and what didn’t,” reads the promo copy. Presented in partnership with Local 600, the day begins at 10:00 Am with a screening […]...
- 11/29/2013
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
The new Made in NY Media Center by Ifp has announced a round of classes and presentations for December and is offering Filmmaker subscribers a discount for the two involving transmedia. On December 7, one of today’s great cinematographers, Declan Quinn, will present a five-hour master class in the shooting of Mike Figgis’s Leaving Las Vegas. “In this Master Class, Quinn will deconstruct Leaving Las Vegas, scene-by- scene, while discussing his process, choices, obstacles, challenges – what worked and what didn’t,” reads the promo copy. Presented in partnership with Local 600, the day begins at 10:00 Am with a screening […]...
- 11/29/2013
- by Scott Macaulay
- Filmmaker Magazine - Blog
Director Jonathan Demme captures the team of Wallace Shawn and Andre Gregory staging a new adaptation of Henrik Ibsen’s “The Master Builder.”
The dynamic duo behind My Dinner with Andre and Vanya on 42nd Street take on another classic of the stage in their big-screen Henrik Ibsen adaptation, Fear of Falling.
With Jonathan Demme replacing the late Louis Malle at the helm, this terrifically performed version of The Master Builder -- based on a screenplay by Wallace Shawn, from his own translation of the Norwegian text -- channels the rage, joy and delusions of an aging architect’s final days, where a ghost from his past (played by the exuberant Lisa Joyce) guides him to the great beyond. Premiering in the Rome Film Festival’s experimental CinemaXXI section, this dense and occasionally poetic chamber piece should appeal to very upscale audiences both at fests and -- despite production values...
The dynamic duo behind My Dinner with Andre and Vanya on 42nd Street take on another classic of the stage in their big-screen Henrik Ibsen adaptation, Fear of Falling.
With Jonathan Demme replacing the late Louis Malle at the helm, this terrifically performed version of The Master Builder -- based on a screenplay by Wallace Shawn, from his own translation of the Norwegian text -- channels the rage, joy and delusions of an aging architect’s final days, where a ghost from his past (played by the exuberant Lisa Joyce) guides him to the great beyond. Premiering in the Rome Film Festival’s experimental CinemaXXI section, this dense and occasionally poetic chamber piece should appeal to very upscale audiences both at fests and -- despite production values...
- 11/12/2013
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Hunger Games DoP Tom Stern and 12 Years a Slave cinematographer Sean Bobbitt among those chosen for jury duty.
The 21st Camerimage, the International Film Festival of the Art of Cinematography (Nov 16-23), has revealed the competition jurors who will judge entries at this year’s event in Bydgoszcz, Poland.
Jury members of the main competition jury are:
Tom Stern, cinematographer (Million Dollar Baby, Gran Torino, The Hunger Games);Ed Lachman, cinematographer (Erin Brockovich, The Virgin Suicides, I’m Not There);Todd McCarthy, journalist and film critic;Denis Lenoir, cinematographer (Paris, je t’aime, Righteous Kill, 88 Minutes);Adam Holender, cinematographer (Midnight Cowboy, Smoke, Fresh);Timo Salminen, cinematographer (The Man Without a Past, La Havre, The Match Factory Girl);Franz Lustig, cinematographer (Don’t Come Knocking, Land of Plenty, Palermo Shooting);Jeffrey Kimball, cinematographer (Top Gun, Mission: Impossible II, The Expendables).Polish Films Competition
Jost Vacano, the cinematographer behind several Paul Verhoeven films including Total Recall, RoboCop and [link...
The 21st Camerimage, the International Film Festival of the Art of Cinematography (Nov 16-23), has revealed the competition jurors who will judge entries at this year’s event in Bydgoszcz, Poland.
Jury members of the main competition jury are:
Tom Stern, cinematographer (Million Dollar Baby, Gran Torino, The Hunger Games);Ed Lachman, cinematographer (Erin Brockovich, The Virgin Suicides, I’m Not There);Todd McCarthy, journalist and film critic;Denis Lenoir, cinematographer (Paris, je t’aime, Righteous Kill, 88 Minutes);Adam Holender, cinematographer (Midnight Cowboy, Smoke, Fresh);Timo Salminen, cinematographer (The Man Without a Past, La Havre, The Match Factory Girl);Franz Lustig, cinematographer (Don’t Come Knocking, Land of Plenty, Palermo Shooting);Jeffrey Kimball, cinematographer (Top Gun, Mission: Impossible II, The Expendables).Polish Films Competition
Jost Vacano, the cinematographer behind several Paul Verhoeven films including Total Recall, RoboCop and [link...
- 11/8/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Oscar-winning director behind Silence of the Lambs and Philadelphia to premiere new film at the Rome Film Festival and host a masterclass.
The8th Rome Film Festival (Nov 8-17) will play host to the world premiere of Jonathan Demme’s Fear of Falling.
The film will feature in in the CinemaXXI section, dedicated to new trends in international cinema.
In an accompanying masterclass, Demme will talk about his relationship with cinema, commenting on the most significant film scenes in his career and answering questions from the audience.
Demme, who won the Best Director Oscar for Silence of the Lambs (1991), has also directed award-winning features including Philadelphia (1993) and Rachel Getting Married (2008) - the last time he made a fiction feature.
Fear of Falling is based on a theatre production that was an adaptation of Henrik Ibsen’s “Master Builder Solness” (“Bygmester Solness”) and follows a renowned architect increasingly caught up in his own fantasies.
Created for the...
The8th Rome Film Festival (Nov 8-17) will play host to the world premiere of Jonathan Demme’s Fear of Falling.
The film will feature in in the CinemaXXI section, dedicated to new trends in international cinema.
In an accompanying masterclass, Demme will talk about his relationship with cinema, commenting on the most significant film scenes in his career and answering questions from the audience.
Demme, who won the Best Director Oscar for Silence of the Lambs (1991), has also directed award-winning features including Philadelphia (1993) and Rachel Getting Married (2008) - the last time he made a fiction feature.
Fear of Falling is based on a theatre production that was an adaptation of Henrik Ibsen’s “Master Builder Solness” (“Bygmester Solness”) and follows a renowned architect increasingly caught up in his own fantasies.
Created for the...
- 9/10/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Starring Riz Ahmed, Kate Hudson, Liev Schreiber, Keifer Sutherland, Shabana Azmi, Om Puri
Directed by Mira Nair
The dubbing does subject the content to some tonal drubbing. And one wishes the Indian distributors had just let the characters speak the way they felt. Misguided vocalization cannot take away from the power and inner strengths of Mira Nair’s newest work.
The abject isolation of an individual as he or she grapples with the shifting emotional and cultural dynamics of a society that doesn’t have much patience with dilemmas of the diaspora, is a recurrent theme in Mira Nair’s remarkable oeuvre.
It could be that sassy street boy Krishna in Salaam Bombay peering resentfully into the rolled-up windows of the rich and the privileged as they whisk away his unrealized dreams. It could the high-flying Amelia Earhart kissing the clouds as she flies that plane in splendid solitude in Amelia.
Directed by Mira Nair
The dubbing does subject the content to some tonal drubbing. And one wishes the Indian distributors had just let the characters speak the way they felt. Misguided vocalization cannot take away from the power and inner strengths of Mira Nair’s newest work.
The abject isolation of an individual as he or she grapples with the shifting emotional and cultural dynamics of a society that doesn’t have much patience with dilemmas of the diaspora, is a recurrent theme in Mira Nair’s remarkable oeuvre.
It could be that sassy street boy Krishna in Salaam Bombay peering resentfully into the rolled-up windows of the rich and the privileged as they whisk away his unrealized dreams. It could the high-flying Amelia Earhart kissing the clouds as she flies that plane in splendid solitude in Amelia.
- 5/20/2013
- by Subhash K Jha
- Bollyspice
Mira Nair delivers a masterful film that rides high on the minimal expectations of the audiences and turns each scene into a cruel exercise of meeting as well as challenging these expectations, writes Shekhar Deshpande
Riz Ahmed in Mira Nair’s “The Reluctant Fundamentalist”
The events of 9-11 have changed cinema. These changes have been far ranging, from narrative construction and movement to the aesthetics of urgency. The past before and since that day suddenly contracts to illuminate that fateful moment while images pace at the speed that intensifies the here-and-now which, incidentally, tends to be everywhere. It is now impossible to see Muslims and the Eastern cultures without the tinted lenses that all spectators have come to wear, where each gesture is ridden with risk until it has had a chance to prove otherwise. Any film that claims to have “fundamentalist” in its title is likely to invite a...
Riz Ahmed in Mira Nair’s “The Reluctant Fundamentalist”
The events of 9-11 have changed cinema. These changes have been far ranging, from narrative construction and movement to the aesthetics of urgency. The past before and since that day suddenly contracts to illuminate that fateful moment while images pace at the speed that intensifies the here-and-now which, incidentally, tends to be everywhere. It is now impossible to see Muslims and the Eastern cultures without the tinted lenses that all spectators have come to wear, where each gesture is ridden with risk until it has had a chance to prove otherwise. Any film that claims to have “fundamentalist” in its title is likely to invite a...
- 5/17/2013
- by Shekhar Deshpande
- DearCinema.com
Turn and Face the Strain: Nair’s Latest Adaptation a Return to Form
Citing the project as nearly five years in the making, Mira Nair’s adaptation of Mohsin Hamid’s novel The Reluctant Fundamentalist follows on the heels of her 2009 Amelia Earhart biopic and sees the auteur returning to fresh, exciting material. Opening up Hamid’s monologue driven novel into a more balanced dialogue that oscillates between a tense present day interview and a decade long flashback used to establish a hearty back story, William Wheeler’s adapted screenplay does its best to engage a Western audience with a disenfranchised character that’s refreshingly critical of the xenophobic undercurrents in the Land of the Free.
In 2011 Lahore, Pakistan, an American professor is abducted by a political terrorist faction, which sets in motion a series of events against a fellow colleague at the university, Professor Changez (Riz Ahmed), who is...
Citing the project as nearly five years in the making, Mira Nair’s adaptation of Mohsin Hamid’s novel The Reluctant Fundamentalist follows on the heels of her 2009 Amelia Earhart biopic and sees the auteur returning to fresh, exciting material. Opening up Hamid’s monologue driven novel into a more balanced dialogue that oscillates between a tense present day interview and a decade long flashback used to establish a hearty back story, William Wheeler’s adapted screenplay does its best to engage a Western audience with a disenfranchised character that’s refreshingly critical of the xenophobic undercurrents in the Land of the Free.
In 2011 Lahore, Pakistan, an American professor is abducted by a political terrorist faction, which sets in motion a series of events against a fellow colleague at the university, Professor Changez (Riz Ahmed), who is...
- 4/23/2013
- by Nicholas Bell
- IONCINEMA.com
Ready to go back to school? Tina Fey (30 Rock) and Paul Rudd (This is 40) are paired for the first time on-screen in the new comedy/drama Admission. Every spring, high school seniors anxiously await letters of college admission that will affirm and encourage their potential. At Princeton University, admissions officer Portia Nathan (Tina Fey) is a gatekeeper evaluating thousands of applicants. Year in and year out, Portia has lived her life by the book, at work as well as at the home she shares with Princeton professor Mark (Michael Sheen). When Clarence (Wallace Shawn), the Dean of Admissions, announces his impending retirement, the likeliest candidates to succeed him are Portia and her office rival Corinne (Gloria Reuben). For Portia, however, it’s business as usual as she hits the road on her annual recruiting trip.
On the road, Portia reconnects with her iconoclastic mother, Susannah (Lily Tomlin). On her visit to New Quest,...
On the road, Portia reconnects with her iconoclastic mother, Susannah (Lily Tomlin). On her visit to New Quest,...
- 3/12/2013
- by Movie Geeks
- WeAreMovieGeeks.com
Rating: 2.5 out of 5 stars
Islamic disarray in the Western world will be a ripe theme in fiction for decades to come in light of 9/11, yet Mira Nair’s bloated, meandering take on Mohsin Hamid’s 2007 novel of the same name can’t seem to tease viewer engagement out of what is without question a worthy and timely story.
Now a militant Muslim lecturer back in Lahore, Changez (Riz Ahmed) recounts his story so far to a sceptical American journalist (Liev Schreiber), detailing his promising career as a young Wall Street up-start, during which he falls for a free-spirited artist (Kate Hudson), before the post-9/11 spectre ruins the party, and he leaves for Pakistan amid a miasmal fog of American xenophobia.
It isn’t long into The Reluctant Fundamentalist that Nair drops the ball, her heavy-handed direction - admittedly working from a problematic script – preventing the film from functioning as a...
Islamic disarray in the Western world will be a ripe theme in fiction for decades to come in light of 9/11, yet Mira Nair’s bloated, meandering take on Mohsin Hamid’s 2007 novel of the same name can’t seem to tease viewer engagement out of what is without question a worthy and timely story.
Now a militant Muslim lecturer back in Lahore, Changez (Riz Ahmed) recounts his story so far to a sceptical American journalist (Liev Schreiber), detailing his promising career as a young Wall Street up-start, during which he falls for a free-spirited artist (Kate Hudson), before the post-9/11 spectre ruins the party, and he leaves for Pakistan amid a miasmal fog of American xenophobia.
It isn’t long into The Reluctant Fundamentalist that Nair drops the ball, her heavy-handed direction - admittedly working from a problematic script – preventing the film from functioning as a...
- 10/29/2012
- by Shaun Munro
- Obsessed with Film
Producer of “Star Wars” Gary Kurtz will preside over the ‘India Gold 2012’ jury. This jury will select the winners of two cash prizes of Inr 1 million and Inr 500,000.
Other members of India Gold Jury are:-
Geoffrey Gilmore, Chief Creative officer at Tribeca Enterprises of the Tribeca Film Festival
Christian Jeune, Head, Film Department at Cannes Film Festival
Declan Quinn, cinematographer of films such as ‘The Reluctant Fundamentalist’, ‘New York, I Love You’, ‘Vanity Fair’ and ‘Being Flynn’
Julia Leigh acclaimed author and director of ‘Sleeping Beauty’.
Celebrate Age Jury
The ‘Celebrate Age’ competition section jury will be presided by author and columnist Shobhaa De. Other members of the jury are:-
Bhavna Talwar, director
Sachin Kundalkar, Producer and director
Petrina D’Rozario, Founder-President, Wift Mumbai chapter
Ranvir Shorey, actor
Dimensions Mumbai Jury
Marathi Director Umesh Kulkarni is the president of the ‘Dimension Mumbai’ jury. Other members of the jury are
Sanjay Suri,...
Other members of India Gold Jury are:-
Geoffrey Gilmore, Chief Creative officer at Tribeca Enterprises of the Tribeca Film Festival
Christian Jeune, Head, Film Department at Cannes Film Festival
Declan Quinn, cinematographer of films such as ‘The Reluctant Fundamentalist’, ‘New York, I Love You’, ‘Vanity Fair’ and ‘Being Flynn’
Julia Leigh acclaimed author and director of ‘Sleeping Beauty’.
Celebrate Age Jury
The ‘Celebrate Age’ competition section jury will be presided by author and columnist Shobhaa De. Other members of the jury are:-
Bhavna Talwar, director
Sachin Kundalkar, Producer and director
Petrina D’Rozario, Founder-President, Wift Mumbai chapter
Ranvir Shorey, actor
Dimensions Mumbai Jury
Marathi Director Umesh Kulkarni is the president of the ‘Dimension Mumbai’ jury. Other members of the jury are
Sanjay Suri,...
- 9/24/2012
- by NewsDesk
- DearCinema.com
Chicago – A decade ago, director Paul Weitz made a wonderful film about the unusual friendship that developed between an aging loner and a fatherless youth preoccupied with the well-being of his suicidal mother. The picture was 2002’s “About a Boy,” and it featured Hugh Grant in a performance sorely deserving of an Oscar nomination.
In some ways, “Being Flynn” has the same story to tell, but it’s told in a minor key. It lacks the sharp wit of Weitz’s earlier picture, and it mutes the humorous nuances of its source material, Nick Flynn’s beloved memoir, “Another Bulls—t Night in Suck City.” Too bad Weitz couldn’t use Flynn’s original title. It may be profane, but it’s vastly preferable to the generic “Being Flynn.” Yet the new title is indicative of this film’s utter lack of personality. It spins a sad tale reasonably well,...
In some ways, “Being Flynn” has the same story to tell, but it’s told in a minor key. It lacks the sharp wit of Weitz’s earlier picture, and it mutes the humorous nuances of its source material, Nick Flynn’s beloved memoir, “Another Bulls—t Night in Suck City.” Too bad Weitz couldn’t use Flynn’s original title. It may be profane, but it’s vastly preferable to the generic “Being Flynn.” Yet the new title is indicative of this film’s utter lack of personality. It spins a sad tale reasonably well,...
- 7/18/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Production begins this week in New York and New Jersey on Focus Features. Admission, directed by Academy Award nominee Paul Weitz. Focus CEO James Schamus made the announcement today.
The comedy/drama stars Screen Actors Guild Award winner Tina Fey (30 Rock), Paul Rudd (soon to be seen in This is 40), BAFTA Award nominee Michael Sheen (The Queen), Golden Globe Award nominee Gloria Reuben (ER), Wallace Shawn (of the upcoming A Late Quartet), and Academy Award nominee Lily Tomlin (Nashville). The screenplay is adapted by Karen Croner (One True Thing) and Mr. Weitz from Jean Hanff Korelitz.s 2009 novel of the same name.
Mr. Weitz, an Academy Award nominee as one of the screenwriters of About a Boy, most recently adapted and directed Being Flynn for Focus. He is producing Admission with Andrew Miano, his partner in the production company Depth of Field, and Kerry Kohansky-Roberts (Nick and Norah...
The comedy/drama stars Screen Actors Guild Award winner Tina Fey (30 Rock), Paul Rudd (soon to be seen in This is 40), BAFTA Award nominee Michael Sheen (The Queen), Golden Globe Award nominee Gloria Reuben (ER), Wallace Shawn (of the upcoming A Late Quartet), and Academy Award nominee Lily Tomlin (Nashville). The screenplay is adapted by Karen Croner (One True Thing) and Mr. Weitz from Jean Hanff Korelitz.s 2009 novel of the same name.
Mr. Weitz, an Academy Award nominee as one of the screenwriters of About a Boy, most recently adapted and directed Being Flynn for Focus. He is producing Admission with Andrew Miano, his partner in the production company Depth of Field, and Kerry Kohansky-Roberts (Nick and Norah...
- 5/14/2012
- by Michelle McCue
- WeAreMovieGeeks.com
Even his detractors must admit that there's a glorious unpredictability in watching the career of Jonathan Demme. In the last decade alone, he's directed two remakes of 1960s classics, documentaries on Neil Young, Haitian activist Jean Dominique and former President Jimmy Carter, indie drama "Rachel Getting Married," episodes of TV series "A Gifted Man" and "Enlightened," and, on the way, an animated adaptation of Dave Eggers' "Zeitoun" and Stephen King time-travel thriller "11/22/63." But his next film? It's something even more unexpected.
The New York Times reports that Demme is teaming up with theater legends Wallace Shawn and André Gregory, who each starred in Louis Malle's "My Dinner With André" and "Vanya On 42nd Street" (the latter of which Gregory co-directed), on a new film entitled "Wally And André Shoot Ibsen," which will shoot in New York in the spring.
Like 'Vanya,' which detailed the workshop rehearsals of...
The New York Times reports that Demme is teaming up with theater legends Wallace Shawn and André Gregory, who each starred in Louis Malle's "My Dinner With André" and "Vanya On 42nd Street" (the latter of which Gregory co-directed), on a new film entitled "Wally And André Shoot Ibsen," which will shoot in New York in the spring.
Like 'Vanya,' which detailed the workshop rehearsals of...
- 2/28/2012
- by Oliver Lyttelton
- The Playlist
New York (October 11, 2011) – Sony Pictures Classics announced today that they have acquired the Worldwide Rights, excluding Latin America, to Jonathan Demme’s film, Neil Young Journeys from Shakey Pictures and Clinica Estetico. Demme and Elliot Rabinowitz produced the film, with Declan Quinn (Rachel Getting Married, Neil Young Trunk Show, Jimmy Carter Man From Plains) who served as director of photography. Neil Young Journeys had its World Premiere at the 2011 Toronto International Film Festival to a tremendous audience and great critical acclaim. Neil Young Journeys marks the third film between Demme and Sony Pictures Classics. Previous films include Jimmy Carter Man From Plains and Rachel Getting Married. This past May, Neil Young drove a 1956 Crown Victoria from his idyllic hometown of Omemee, Ontario to downtown Toronto’s iconic Massey Hall, where he played the last two nights of his solo world tour. Filmmaker Jonathan Demme was on hand to capture the journey and both shows,...
- 10/11/2011
- by MIKE FLEMING
- Deadline
Sony Pictures Classics announced today that they have acquired the worldwide rights, excluding Latin America, to Jonathan Demme's film, Neil Young Journeys from Shakey Pictures and Clinica Estetico. Demme and Elliot Rabinowitz produced the film, with Declan Quinn ( Rachel Getting Married , Neil Young Trunk Show , Jimmy Carter Man From Plains ) who served as director of photography. Neil Young Journeys had its world premiere at the 2011 Toronto International Film Festival. Neil Young Journeys marks the third film between Demme and Sony Pictures Classics. Previous films include Jimmy Carter Man From Plains and Rachel Getting Married . This past May, Neil Young drove a 1956 Crown Victoria from his idyllic hometown of Omemee, Ontario to downtown Toronto's iconic Massey...
- 10/11/2011
- Comingsoon.net
Mira Nair's controversial adaptation of Mohsin Hamid's novel 'The Reluctant Fundamentalist' is ready to roll this week in Atlanta, New York, Istanbul and Delhi. Interestingly, Mira has managed to get permission to shoot in Lahore where the novel is largely set. Riz Ahmed (Four Lions, Black Gold) stars in the lead role of Changez alongside Kate Hudson (Bride Wars, Nine, Something Borrowed), Liev Schreiber (Salt, X-Men: Origins, The Manchurian Candidate) and Kiefer Sutherland (24). Also appearing in the film are Nelsan Ellis, Martin Donovan. From India, Om Puri and Shabana Azmi who are regulars abroad but have never worked with Mira Nair, are also on board. Haluk Bilginer and Meesha Shafi also feature in prominent parts. Commenting on The Reluctant Fundamentalist, Nair said: "My father lived in Lahore before the partition of India and Pakistan. I am inspired to make a contemporary film about Pakistan, especially in...
- 10/7/2011
- by Subhash K. Jha
- BollywoodHungama
By Sean O’Connell
Hollywoodnews.com: Production began today on Paul Weitz’s as-yet-untitled film adaptation of Nick Flynn’s 2004 memoir entitled “Another Bulls—t Night in Suck City.”
The Focus Features stars Robert De Niro, Julianne Moore, Paul Dano, Dale Dickey (“Winter’s Bone”), Lili Taylor and Olivia Thirlby. It tells the story of Nick Flynn (Dano), a young writer who takes a job at a homeless shelter where he discovers his long-absent father Jonathan (De Niro) seeking a bed. Moore portrays the writer’s mother Jody, while Thirlby portrays Denise, a worker at the shelter.
“Nick’s memoir was emotional, ruefully funny, and powerfully moving. Paul’s movie looks to honor Nick’s experiences – and his father’s. We are privileged to be working with these filmmakers and talent to tell this story,” said Focus CEO James Schamus.
Weitz commented, “I’ve been working on this script for seven years,...
Hollywoodnews.com: Production began today on Paul Weitz’s as-yet-untitled film adaptation of Nick Flynn’s 2004 memoir entitled “Another Bulls—t Night in Suck City.”
The Focus Features stars Robert De Niro, Julianne Moore, Paul Dano, Dale Dickey (“Winter’s Bone”), Lili Taylor and Olivia Thirlby. It tells the story of Nick Flynn (Dano), a young writer who takes a job at a homeless shelter where he discovers his long-absent father Jonathan (De Niro) seeking a bed. Moore portrays the writer’s mother Jody, while Thirlby portrays Denise, a worker at the shelter.
“Nick’s memoir was emotional, ruefully funny, and powerfully moving. Paul’s movie looks to honor Nick’s experiences – and his father’s. We are privileged to be working with these filmmakers and talent to tell this story,” said Focus CEO James Schamus.
Weitz commented, “I’ve been working on this script for seven years,...
- 3/8/2011
- by Sean O'Connell
- Hollywoodnews.com
Release Date: March 2 Director/Writer: Rebecca Miller Cinematographer: Declan Quinn Starring: Alan Arkin, Robin Wright Penn, Winona Ryder, Keanu Reeves, Maria Bello, Blake Lively Studio/Run Time: Screen Media Films, 98 mins. Girl gone mild In The Private Lives of Pippa Lee, Rebecca Miller adapts her novel of the same name, telling again the melodramatic story of its title character. Lee and her husband’s relationship has slowly fallen apart, and Miller takes us back in time to show what led to this loveless marriage with a much older man. A bifurcated plotline attempts to contrast the dullness of Lee’s...
- 3/24/2010
- Pastemagazine.com
Release Date: Nov. 27 (limited) Director/Writer: Rebecca MillerCinematographer: Declan Quinn Starring: Alan Arkin, Robin Wright Penn, Winona Ryder, Keanu Reeves, Maria Bello, Blake Lively Studio/Run Time: Screen Media Films/98 mins. In The Private Lives of Pippa Lee, Rebecca Miller adapts her own novel of the same name in order to tell the overly melodramatic story of its title character’s life. As she’s grown older, Lee and her husband have slowly been breaking down but in order to understand Lee’s current situation, we have to start at the very beginning of her life and learn about what it’s taken to end...
- 11/30/2009
- Pastemagazine.com
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