Last seen warbling up a storm in Les Miserables, Eddie Redmayne is choosing between a couple of likely future gigs, and Deadline has heard that he’s close to locking down the lead in Theory Of Everything, which would follow some of physicist Stephen Hawking’s life.Working title is putting the film together with Man On Wire/Shadow Dancer director James Marsh directing an Anthony McCarten script that focuses on the relationship between Hawking and his wife. Redmayne is considered the main choice for the lead (a challenging role given Hawking’s ALS) and the company is working up ideas for the female lead.Also in contention – though likely behind Theory – is Thomas Vinterberg’s new take on Thomas Hardy’s Far From The Madding Crowd, which has Carey Mulligan and Matthias Schoenaerts already attached.Before he can consider shooting either film, however, Redmayne has to finish up work on his latest movie, the Wachowskis’ ambitious sci-fi outing Jupiter Ascending, which finds him starring with Channing Tatum, Mila Kunis and Sean Bean. With Michael Giacchino already at work on the score, Jupiter Ascending is set to arrive here on July 25 next year.
The Walking Dead exec producer Gale Anne Hurd admitted this afternoon that one of the hazards of her job is receiving death threats from the rabid fan base of smash hit AMC zombie drama when it dares to kill off a character. “That’s one of the dirty little secrets of social media,” she admitted during a session at the Produced By conference on the Fox lot. “The fans so identify with the characters that if you kill them off… well, first they’re in denial. It’s really the stages of grief. They say, ‘That gunshot off camera, they aren’t really dead, they’re coming back.’ And then they get angry. They threaten to hunt you down. They don’t understand the difference between reality and fantasy.”
Gale Anne Hurd Walking DeadFor the most part, however, the experience of being the highest-rated drama in cable history is a far more rewarding and less dangerous experience, Hurd and her fellow panelists agreed. She was joined at the event by Walking Dead exec producer David Alpert; Sharon Tal Yguado, EVP of global scripted programming and original development for Fox International Channels; and Marci Wiseman, SVP of business affairs for AMC. They discussed the how the show originally and famously was rejected at the pilot stage by NBC. Alpert recalled how when the comic book rights were sold to NBC in 2005, the network told him, “We want to do something totally different.” He remembered, “When they passed, I said, ‘But I thought you wanted to do something totally different.’ They said, ‘We do. We just don’t want to do a zombie show.’ That was one of the more frustrating things.”
Frank Darabont was initially resistant to take the show to AMC, or any cable network, fearful of having a repeat of the NBC experience. But it wound up finding not only a creative home, but one that provided the springboard for an international phenomenon. And once it landed at AMC, Hurd recalled, things moved quickly. “We pitched it in October and we were airing — having already shot the first six episodes — by the following October.” Hurd stressed that the creative freedom the show received at AMC has been pretty much unprecedented in her experience. “AMC gives fantastic notes,” she said. “We haven’t received one censorship note — ever. They’ve been an unbelievable creative partner.” The show is indeed also a huge hit internationally, even in China where “they have a resistance to flesh-eating characters,” Alpert said. Wiseman also stressed the unprecedented success of The Talking Dead, the companion talk show that accompanies each original episode. It averages more than four million viewers “and I think it beats most of NBC’s shows in primetime,” she said. “Not that we’re going after NBC.” Walking Dead is set to return for its fourth season in October, though no premiere date has been announced.
Some miniseries (heck, some drama series) become such parodies of themselves and their genre that it’s almost not worth anyone trying to spoof them. That’s not the attitude taken by the brave souls at The Spoils Of Babylon, who have rounded up a killer cast that includes Will Ferrell, Kristen Wiig, Tobey Maguire, Jessica Alba, Hayley Joel Osment, Michael Sheen, Tim Robbins and Val Kilmer.As for what it’s all about? The series is “based” on fictional bestseller pumped out by equally fake author Eric Johnrosh (Ferrell). We’re not sure we can do better than the press release, so take it away… “The Spoils Of Babylon, a century-spanning saga, chronicles the sexy and dramatic lives of the Morehouse family, led by Jonas Morehouse (Robbins), his daughter Cynthia (Wiig) and her adopted brother Devon (Maguire) who made their fortune in the oil business,” it says.“The series takes viewers from the oil fields of Texas to boardrooms in New York City, through war torn battlefields and velvet-sheeted bedrooms. Cynthia and Devon’s unbridled and taboo passion for one another cannot be prevented. Add in Cynthia’s evil son Winston (Osment), her put upon husband Chet Halner (Sheen), and Devon’s new love interest Dixie Mellonworth (Alba), and the booze, the pills, more passion, more pills and the heartache, and you have a mercurial potboiler. Then add in illegal arms deals, international espionage, the Shah of Iran (Ferrell), and two U.S. Army generals (Kilmer, Steve Tom) and it begins to overflow with boiling liquid in a pot on a hot stove that is operational.”The six-episode series will be produced by the Funny Or Die gang and shown on US cable channel IFC next year (hopefully with a UK channel picking it up before too long…)
“Rapture-Palooza” is a new comedy that takes a light, humorous look at the End of Days. Anna Kendrick and John Francis Daley from “Freak and Geeks” star as a couple just trying to cope with the apocalypse, and things aren’t that bad until the Anti-Christ shows up.
In this exclusive clip from “Rapture-Palooza,” Kendrick’s character, Lindsey, has to make a tough choice. Beast (Craig Robinson) wants to take Lindsey as his bride, and if she resists, he’ll kill her boyfriend and his dad (Rob Corddry).
A ton of other funny people make up the rest of the cast, including Ken Jeong, Rob Huebel, and Paul Scheer.
“Rapture-Palooza” will hit theaters and video on-demand on June 7.
Robert Redford may not be eligible for any awards at Cannes this year where his new film, All Is Lost premiered to strong response out of competition on Wednesday night, but if the reaction on the Croisette was any indication, he could be headed for the Oscars. The film, in which Redford is the only actor playing a man stranded at sea when his sailboat springs a huge leak, is a tour de force for the star and it won a 9-minute standing ovation at its debut tonight. Even the return of the rain that has plagued this festival could not put a damper on the mood of the filmmakers, Universal International (releasing overseas) and Lionsgate and Roadside Attractions (releasing domestically on October 18th). It is clearly an awards season play, not only for Redford in a role unlike any he has played but also Oscar nominated writer/director J.C. Chandor (Margin Call) who proves his first film was no fluke and shows a remarkable ability to pull off this one-man show with real filmmaking skill.Most reviews that came in after the afternoon press screening were very upbeat, making it even more of a head-scratcher as to why this film wasn’t put in competition. Redford certainly would have given the top notch list of Best Actor contenders at this year’s Cannes a real run for their money. At 76 years old he took on a hard, very grueling physical role with virtually no dialogue and pulled it off big time.
The network and its sister outlets MSNBC and the Weather Channel will focus Tuesday on coverage of today’s massive twister that cut a huge swath of destruction near Oklahoma City. Along with live coverage from devastated Moore, Okla., on NBC’s Today and MSNBC’s morning programs, the broadcast network will air a one-hour special hosted by Brian Williams live from the scene at 8 PM ET (delayed in other time zones). That will pre-empt a recap show of The Voice featuring the top 10 performances; a new live episode of the singing competition will air as scheduled in the 9 PM hour. Meanwhile, the Williams-anchored NBC Nightly News is slated to run in its regular half-hour starting at 6:30 PM and is not expected to be expanded. Today’s Matt Lauer, Savannah Guthrie, Al Roker, Natalie Morales and Willie Geist also will report from Moore, as will Lester Holt, Ann Curry, Kate Snow and others. MSNBC anchors reporting live from suburban OKC will include Joe Scarborough, Mika Brzezinski, Chris Jansing and Thomas Roberts.
“Argo to win it all.” This has been the Oscar pundit thesis statement ever since Ben Affleck was left off the Best Director list and promptly blew over the Critics’ Choice and Golden Globe Awards in a whirlwind weekend of Oscar analysis. Every award Argo has gathered since that weekend last month has added to the confirmation bias. Affleck and his film established themselves as the storyline of the 2012 Academy Awards.
But what about the several months leading up to the nominations? Remember when Les Miserables jumped ahead with a rapturous New York premiere? Remember when The Master exploded into the race with a series of secret screenings set up by Paul Thomas Anderson himself? Remember when Lincoln was predestined to win Best Picture, because War Horse lost last year? The storyline of 2012 isn’t Argo; it’s confusion.
And in keeping with that storyline, Movieline presents the “What The What?!” Oscars, a list of out-there-but-plausible winners in the hopes for a less predictable and more exciting show. All of my picks below go against the Argo storyline, as if it wasn’t coming at all. Just like in the film, Argo was a red herring all along.
If all goes according to confusion, here’s what could happen:
BEST SUPPORTING ACTRESS
“What The What?!” pick: Jacki Weaver, Silver Linings Playbook
Based on previous ceremonies, this is potentially the first award of the night, and what better way to start off the night than ruining everyone’s ballots? An Anne Hathaway win has been too obvious, and when something is too obvious, voters tend to look for a way out. The same rule has been slowly killing Lincoln all season, which doesn’t play into Sally Field’s favor. The next choice would be Amy Adams in The Master, but here’s where we’ve got the Weinstein factor: somewhere in the season, Harvey looked at his prospects and picked the easy Silver Linings Playbook over the bold Master. Jacki Weaver’s nomination was baffling to begin with, and that same campaign leads to a win.
BEST SUPPORTING ACTOR
“What The What?!” pick: Philip Seymour Hoffman, The Master
This category has been swirling around the dependably exceptional Hoffman all season. Christoph Waltz is picking up some late backlash with people commenting that what he does in Django is identical to what he won for in Inglourious Basterds. Tommy Lee Jones didn’t win a lot of support with a grouchy turn at the Golden Globes, not enough Academy voters bought Robert De Niro’s Katie Couric cry-fest, and Alan Arkin’s performance is not all that different from his turn in Little Miss Sunshine. Hoffman’s steadiness wins the day.
“What The What?!” pick: Naomi Watts, The Impossible
Just like Jennifer Lawrence and Jessica Chastain, Watts is on her second Academy Award nomination. Lawrence has a natural cockiness that charms the Internet crowd, but fmakes her a difficult Oscar campaigner. Chastain was similar to Jeremy Renner in The Hurt Locker, delivering a revelatory, powerhouse performance that’s overshadowed by the film itself (I’m curious if Bigelow will ever direct someone to an Oscar). The storyline behind Emmanuelle Riva is that she’ll turn 86 on Oscar Sunday, but old and accomplished does not guarantee anyone an Oscar. (Six years ago, they overlooked freaking Peter O’Toole, so there’s the love shown for the emeritus crowd.). Watts is someone current, who the voters seem to love, and wins based on a familiar role in a tear-jerker film.
As we all wait patiently for the first proper, moving glimpse of Hugh Jackman and co in The Wolverine (the trailer’s coming soon, we’re told), the film’s Twitter account has put out a new picture of the hairy hero.
The tweet itself reads, “The past is always behind you, but the memories still remain,” which seems both fitting and unusual for Logan, since he’s traditionally cursed with something of a dodgy noggin on that front.Still, The Wolverine finds him looking to escape his demons in Japan, and instead running afoul of a whole heap of new trouble. As director James Mangold told Empire exclusively last month, “We pick up Logan in a very isolated state, full of self-loathing. He is sought out by a young Asian woman for reasons he doesn’t fully understand, who is asking him to follow her to Japan where he is meant to reconnect with someone from his past.””And what you’ll come to find is that this is someone he spent prison-time with in Nagasaki. And the legacy of that experience – effectively Logan saved him – is that this man is on his deathbed, and is looking to give him a gift, to thank him for the life he’s had.
“But this gift draws Logan into a very complex and very unexpected world within both contemporary Japan and, to some extent, the feudal history of Japan.”You can read more here and in the current Empire, which resides in newsagents for another week and in digi-space on the iPad. The Wolverine is out on July 26.
The burning question for this year’s Academy Awards has changed.
It had been “How can ‘Argo’ win best picture without a director nomination for Ben Affleck?”; now it’s “Where did all that early Oscar support for ‘Lincoln’ come from – and how much of it is left?”
As Affleck and “Argo” march from one honor to the next – sweeping key prizes at the Critics’ Choice Awards, Golden Globes, Producers Guild, Screen Actors Guild and, as of Saturday, the Directors Guild – Steven Spielberg and “Lincoln” have increasingly taken on the slackjawed sorrow of those thunderstruck congressmen on the losing side of the 13th Amendment.
“It’s been an incredible year for movies,” Spielberg said at the DGAs as he was presented with his nominees medallion, before the night’s results were announced. “I’d be lying if I said I didn’t occasionally wish it was a less incredible year.”
Of course, supporters of other films still cling to their cases for best picture. “Silver Linings Playbook” is an edgy yet heartwarming pic seemingly in the Academy’s sweet spot, and it remains the first in three decades with nominations in four acting categories. “Zero Dark Thirty,” a darling of critics groups, is finally seeing the controversy surrounding its depiction of torture diminish, and “Life of Pi” will forever seem the quiet storm to be reckoned with.
The Academy could still go its own way – with the 12 nominations for “Lincoln,” the most of any film, it kind of already has, and at minimum, the film is likely to come away with multiple individual honors. Academy voting on the Oscars doesn’t begin until Friday and lasts until Feb. 19.
But with balloteers in Hollywood’s guild power centers indicating their support is elsewhere (admittedly, this includes people from the TV world), “Lincoln” and its fellow rivals to “Argo” essentially need a heap of votes from filmmaking’s below-the-liners: cinematographers, editors, hairstylists and others.
Having more overall noms than “Argo” is consoling to the “Lincoln” team, but at this point a best-picture victory for any other film would be a stunner. Yet “Argo” has changed the conversation. It’s like an NCAA men’s basketball team that staggered during the regular season but is running the table during March Madness, led by a coach with the magic touch. Valvano, meet Affleck.
But I lied: There’s still a burning question about “Argo”: not how many Oscars the film may win but how few.
However big a force it has become in the best picture competish, “Argo” is still faced with tough challenges in every other Oscar category. Even should Academy voters crown it with the final award of the night Feb. 24, “Argo” could end up with the fewest victories of any Oscar champion in quite some time.
For example, “Argo” will get shut out of at least 17 out of 24 categories, including that pesky director one, making Affleck the seventh director to win at the DGAs without winning at the Oscars.
That leaves, in addition to best picture, the following possibilities: supporting actor (Alan Arkin), adapted screenplay (Chris Terrio), film editing (William Goldenberg), original score (Alexandre Desplat), sound editing (Erik Aadahl, Ethan Van der Ryn) and sound mixing (John Reitz, Gregg Rudloff, Jose Antonio Garcia).
Arkin is in a powerhouse category in which he’s vying against Robert De Niro, Philip Seymour Hoffman, Tommy Lee Jones and Christoph Waltz. Terrio has to top the scripts from “Beasts of the Southern Wild,” “Life of Pi,” “Lincoln” and “Silver Linings Playbook.”
Then there’s the quartet of below-the-line awards. The best picture momentum for “Argo” could provide lift in these categories, but it hardly seems assured that the film will win all four, especially in this widely acknowledged rich year of film in which there might be sentiment to try to spread the wealth.
So where does that leave us? “Argo” could go seven for seven. Or, it could find a place on this list of best picture winners:
• Last to win four Oscars: “The Departed” (2006)
• Last to win three Oscars: “Crash” (2005)
• Last to win two Oscars: “The Greatest Show on Earth” (1952)
• Last to win one Oscar: “Mutiny on the Bounty” (1935)
Just think about this scenario for the night, even if only for wicked amusement. One film wins an Oscar here, another wins another there, and suddenly in the final moments of the ceremony, “Argo” is looking for the biggest Oscar – and its first.
Skyfall is the twenty-third James Bond movie, produced by Eon Productions and distributed by MGM and Sony Pictures Entertainment in 2012. It features Daniel Craig’s third performance as James Bond, and Javier Bardem as Raoul Silva, the film’s antagonist. The movie was directed by Sam Mendes and written by Neal Purvis, Robert Wade and John Logan.
Watch Skyfall online free. Watch full length movie online. Skyfall premiered in London at the Royal Albert Hall on 23 October 2012 and was released in the United Kingdom on 26 October 2012 and the United States on 9 November 2012. Skyfall was the first James Bond movie to be screened in IMAX venues, although it was not filmed with IMAX cameras. The film’s release coincided with the 50th anniversary of the James Bond series, which began with Dr. No in 1962. Skyfall was positively received by critics and at the box office, grossing $978 million worldwide. It is thus far the 14th highest grossing film of all time and has become the highest-grossing film of all time in the UK, the highest-grossing film in the James Bond series, the highest-grossing film worldwide for Sony Pictures, and the third highest-grossing film of 2012.
After watching Casino Royale and Quantum of Solace (which i thought was great movies, ..just not Bond movies) i thought that the franchise was dead. James Bond has finally seen its end. You know the criticisms of those movies, so i won’t elaborate (“Do i look like i give a damn” – for example).
I’ve read about this upcoming Bond film for a long time, and the first thing that struck me with this movie was, they brought back Q! What a wonderful decision to make (him being absent in the previous two movies was really a letdown). I really thought – perhaps the producers finally intent to get THE James Bond back to where he really should be. So i watched Skyfall online.
I was so impressed by the producers decision to bring back everything that defined Bond in the past, back. Moneypenny, the old office, male M (not that Dench was bad), Bond’s cold and calm attitude. This is what the franchise is about, it’s not about overused action scenes, boring love dramas, Bond avenging his lover etc. Skyfall movie blended the good parts of the previous movies with true Bond elements and made it a masterpiece. While i do understand that some plot twists and overacting in fact DO exist in this movie, it may not be the greatest movie ever made, but for what i care, it doesn’t matter – Bond has made it back, and this is what a reboot is all about: Bringing a franchise into the modern world.
They’re not trying to recreate Goldfinger, they’re trying to make a good action movie out of a bond movie while still retaining the things that defined the character. Alright, there’s things that could’ve been done better, i’m not saying anything else, but i’m not watching Skyfall movie because it’s cinematicly the best, i’m watching its for one reason, and one reason only – because it’s Bond movie.
Now i can finally look forward to the next bond movie, knowing that the franchise is back on tracks. Whatever rating it gets on IMDb in the end, Skyfall will always be known as the “Dr. No” of the reboot movie.
These three movies tell the tale of how James became Bond, now we want to see how Bond fares in the modern world, now that he’s finally back as we know him.
Two things i may suggest in the next movie, that will really Isis the cake – Gun Barrel sequence in the beginning of the movie (YES it’s been pointed out millions of times), and the sparingly using of “shaken, not stirred”.