NBS has announced that Allison Williams, star of Girls, and fruit of NBC News’ Brian Williams’ loins, will star as the titular hero in their live musical adaptation Peter Pan Live! You may remember a similar event last winter with The Sound of Music Live! starring Carrie Underwood.
“I have wanted to play Peter Pan since I was about three years old, so this is a dream come true,” said Williams, whose singing talents we’re all familiar with from her shame-karaoke on Girls. (via The Wrap). “It’s such an honor to be a part of this adventure, and I’m very excited to get to work with this extraordinarily talented team. And besides, what could go wrong in a live televised production with simultaneous flying, sword fighting and singing?”
In this version of the classic tale, which will also star Christopher Walken as Captain Hook, Peter Pan whisks Wendy and her brothers away to Green Point where they do battle with a group of trust fund hipsters intent on gentrifying their magical land.
Just when the furor over Thor being turned into a woman has subsided, we can now brace ourselves for all manner of nerd overreaction with new casting news for the remake of the beloved sci-fi film 12 Monkeys. The time travel story, which is being made into a series on the Syfy network, has announced that Canadian actress Emily Hampshire will assume the role played by Brad Pitt in the film, which was, of course, itself a remake. You may remember Hampshire from the Robert Pattinson film Cosmopolis, or you would anyway if you had seen it, which you didn’t.
As Deadline explains, Hampshire will play Jennifer Goines, “a female version of the Jeffrey Goines character played in the movie by Pitt. Jennifer is a dangerous, unstable mental patient who might have the key to unraveling the mystery of the 12 Monkeys locked away in her head.”
The series has previously cast Aaron Stanford,Amanda Schull, and Kirk Acevedo.
Freddie Prinze Jr., the 2000s star of such films as She’s All That and probably some other stuff, said this weekend that working alongside Kiefer Sutherland on the conservative dad revenge fantasy porn known as 24, was one of the worst experiences of his acting career. It was so bad, he told ABC News, that he considered quitting acting altogether, which is surprising because I figured he had anyway.
Speaking at Comic Con in San Diego, where he’s promoting some Disney thing or Star Wars thing or maybe some Disney-Star Wars thing, Prinze Jr. said that when he was on 24 back in 2010, “It was terrible,” and that he “hated every moment of it.”
He didn’t mince words when it came to describing the show’s star, which is a refreshing change of pace from the usual Hollywood circle jerk. “Kiefer was the most unprofessional dude in the world. That’s not me talking trash, I’d say it to his face, I think everyone that’s worked with him has said that.”
Even professional wrestling was a preferable gig. “I went and worked for Vince McMahon at the WWE for Christ’s sake and it was a crazier job than working with Kiefer,” he said. “But, at least he was cool and tall. I didn’t have to take my shoes off to do scenes with him, which they made me do. Just put the guy on an apple box or don’t hire me next time. You know I’m 6 feet and he’s 5’4.”
Sounds like he was taking notes on how to start a beef from his time in the WWE.
That is the question approximately no one is asking because it doesn’t really matter and it’s Friday and you’re probably on a rooftop schwayling out. But for those of us who are still at a desk reading entertainment sites because real news is depressing, it appears there’s a chance that professional weirdo Joaquin Phoenix might join the Marvel Cinematic Universe as Dr. Strange, according to The Wrap. Phoenix, who’s mostly been working on (relatively) small movies with big directors, is reportedly in talks for the role, which has most recently been rumored as belonging to Benedict Cumberbatch.
Strange is one of Marvel’s stranger superheroes (kill me). He’s essentially a sorcerer who uses a pendant called the Eye of Agamotto to cast spells on his enemies, and unlike many of his Marvel counterparts, he usually works alone. Phoenix would reportedly get signed to lesser commitment than his Marvel counterparts, because presumably an actor of his calibre wants the freedom to make, you know, actual movies. Can this actually happen? Stranger things have happened
Some of you may recall the legend of Superman Lives, a ’90s era cinematic revival of the Man of Steel that Tim Burton was slated to direct, and Nicolas Cage—then at the peak of his powers—was supposed to star in. The movie, which was initially scripted by Kevin Smith, never took off (ha ha), despite months of preproduction. Photos of the completely insane costume Cage was supposed to wear have been floating around the internet for years, and highlight just how ballsy (and insane) this movie would have been. Now, filmmaker Jon Schnepp has made a documentary about this unfinished film called The Death of ‘Superman Lives’: What Happened? It looks like a fascinating exploration of a time when Hollywood was almost (but not quite) willing to take massive creative risks on their big budget properties, and features appearances from some of the producers and artists involved, including Burton himself. Check it out below.
When Whiplash premiered at this year’s Sundance Film Festival, it shocked everyone. Nobody expected a movie about an aspiring jazz drummer and his demanding teacher to be one of the most gripping films in recent memory, but by all accounts that’s exactly what it is. The film went on to win the festival’s top two prizes, and awards buzz for its dueling leads, Miles Teller as the student and J.K. Simmons as the teacher, has already begun. Now we have our first look at the trailer, and it’s a punishing, insanely absorbing look at what promises to be a punishing, insanely absorbing movie. Check it out below.
I don’t know why people spend the time editing supercuts like this one of every brand ever mentioned on Sex In the City together, and I don’t think I really want to know. But as long as they keep doing it in such a way that corresponds to the specific demographic interests of popular culture websites like this one, I’m going to post it on the internet.
The video, posted by YouTuber Pierre Buttin, is over nine minutes of brands strung together in an orgy of consumerism and status, encompassing 324 brands mentioned 838 times. You will probably watch most of it.
Buttin has also included the most frequently mentioned names:
Most mentioned brands:
1. Vogue (36 times)
2. Martini (34 times)
3. Yankees (26 times)
4. Knicks (25 times)
5. New York Times (24 times)
6. Manolo Blahnik (16 times)
7. Dolce & Gabbana (15 times)
8. Prada, Post-it (14 times each)
9. Chanel (13 times)
10. Gucci (12 times)
People are weird.
Here it is, the moment that some people but not everyone has been waiting for: the first full trailer for Fifty Shades of Grey. It features an extended version of that druggy redo of “Crazy in Love” that Beyonce teased a few days ago, and it gives you a glimpse at the chemistry between its much discussed and fairly inexperienced two leads, Dakota Johnson and Jamie Dornan. The trailer spends most of its time setting up its central relationship–we do not get a glimpse at Rita Ora’s acting debut–and only at the end does it give us a hint at what’s to come: hardcore fucking bondage. Check it out!
At the age of 51, French auteur Michel Gondry has explored more cinematic terrain than most of his contemporaries ever will. His penchant for eclecticism has drawn him to a plethora of varied projects—some good, some bad, all fascinating. From Eternal Sunshine of the Spotless Mind to Block Party (a documentary on David Chappelle) to The Green Hornet to Is the Man Who Is Tall Happy? (an animated conversation with perennial philosopher Noam Chomsky), Gondry’s voice seems to have no bounds. Unable to be tamed or help captive to one kind of movie, the latest addition to his colorful and assorted filmography is Mood Indigo, which serves as both a futuristic love story and a love letter to jazz music. We recently spoke to Gondry, who discussed his affinity for Duke Ellington, the inspiration behind Mood Indigo, his story behind The Green Hornet, and whether style often replaces substance.
Starting from the title onward, this is very much a jazz film. From Duke Ellington to Boris Vian, how much has this genre of music inspired you and your work?
Well I grew up listening to a lot of jazz music. I remember the day Ellington passed away in 1974. We didn’t speak at dinner table—my father was really upset. I always liked jazz music. When I did Be Kind, Rewind that was sort of the spirit of the film. It always has important to me. I think it’s the root of the pop music we listen to now. Most of it comes from jazz music. This music modernized French culture.
It’s funny because in the film your protagonist hates pop music, especially when the song “The Rest of My Life” by Etienne Charry comes on.
That’s sort of an inside joke because Boris Vian invented this commercial song. It’s very much used now to talk about the successful song. That’s why he wants to break it. He sort of hates commercial music, because it’s more refined and he likes jazz music better.
But you don’t hate commercial music, right?
No, no, not at all. But this character is not based on me.
When you and Luc Bossi adapted the screenplay from the book, how much in the scripting did you insert and imagine the imagery? In every frame of Mood Indigo there are about 20 interesting items to look at.
Bossi wrote a first draft and thought a lot of ideas in the book were not achievable. I sort of challenged myself to put some of those ideas back in and add some from my imagination. But in a way, my imagination has been improved by Bossi for years. It was natural for me. Though it’s hard for me to distinguish between my imagination and Bossi’s.
You certainly have one the more inventive imaginations in contemporary cinema. Just looking at your varied filmography, it’s hard for me to pinpoint a through line.
I hope there is a sort of kindness I try to have my characters possess. I don’t like movies that take themselves too seriously or anything that’s pretentious. Sometimes it works better and sometimes for like The Green Hornet people resent it because America doesn’t like superhero movies to be very bizarre.
The Green Hornet is your one really tried and true studio film. What compelled you to make that?
I had been working on this project well before in 1996 when I moved to America for the first time. I had worked on the first draft with Edward Neumeier and Paul Verhoeven from Robocop. Our draft was really modern and much more imaginative and crazy. But then the studio (Universal) shut down the project. But when they brought me back they allowed me to bring some of my original ideas. I had a lot of attachment to this project. But it was more Seth Rogen’s film in the sense that was a writer, actor, and producer. Not that I resent anything from it. I think it was a great experience.
Did the movie turn out how you wanted it to?
It’s hard to say. I think yes. I think it ended up in 3D and liked the 3D. I did a lot of fun experiments with the 3D. Some comic book fans were a bit angry with us because there were a lot of codes that I didn’t want to respect in this movie. And they were very active on the blogs to try to destroy it. They dedicate their lives to superheroes. But I think some kids liked it. In France people liked it.
Do you ever worry, especially with something like Mood Indigo, that the style replaces the substance?
Well some people worry about that but I don’t really feel this way. It’s hard. I don’t know, maybe it does. I think some writers don’t understand that you can express ideas through images not only words. But I think it depends how genuine you are in what you do visually. Who is to say a movie is just words? Many directors believe that the talking movies destroyed the art of filmmaking.
Do you believe that?
Well you know yes. When movies introduced speaking they stopped going outside for a while, it was like a play or theater. There are movies from the 1930s that look like you’re going to the theater on Broadway. It doesn’t use the language that was invented for film. So sometimes when people complain a movie is too visual they just regret that what makes the essence of movies. But maybe they’re right, that too much detail is drawing away from the story. I don’t know. I think it’s good to go as far as you can. At least I try something different.
What filmmakers, working or deceased, propelled you into this field of work and informed how you made Mood Indigo?
Well I think there is a director in Louis Malle who made this film called Zazie dans le métro. He experimented a lot with silent movies, visual elements, and the film has a lot of absurdity. So it could be apart of that. Of course I love Jacques Tati. And of course Chaplin and Buster Keaton influenced me. Some of the animated films I liked to watch from the Czech Republic. I tried to follow my inspirations and memories from the first time I read Vian’s book, and not to worry about if it looked like this movie or that movie. The book is very visual. The story is linear. There is not a plot.
So what is next for you?
A movie called Microbe et Gasoil. It’s about two teenagers who don’t want to stay in Paris for the holidays so they build a car from scratch and use it to cross France.
At the Television Critics Association press gathering in California, Showtime just dropped the gauntlet. The cable network has revealed the release date and first footage for its cornerstone show, Homeland. The fourth season of the spy thriller will premiere on October 5, and will find Carrie working at a station in the Middle East (which is actually South Africa) and facing a new, still unknown foe. When we last saw her, she was pregnant with Brody’s baby, the same Brody who was publicly hung in a Tehran square. Based on the footage below, it looks like Carrie has given birth, which enables her to return to her wine guzzling, pill-popping ways. Regular cast members Mandy Patinkin, Rupert Friend, Nazanin Boniadi and Laila Robins, are all returning to the Emmy winning show, which many feel lost its way in Season 3. Can Homeland course-correct in Season 4? Only time and TV recappers will tell!