December 17, 2017

Mark Hamill Had A Secret Second Role in ‘Star Wars: The Last Jedi’ You Definitely Missed

SPOILER WARNING 

“Star Wars: The Last Jedi” features recognizable cameos from Justin Theroux and “Rogue One: A Star Wars Story” director Gareth Edwards, among others, but one cameo you definitely missed was from none other than Mark Hamill. The actor was front and center in “The Last Jedi” reprising his role as Luke Skywalker, but that wasn’t the only starring role he had in the Rian Johnson-directed sequel.

Hamill reveals to Entertainment Weekly that he had a top secret second role in “The Last Jedi,” one that he isn’t willing to disclose just yet. What we do know is that the character is named Dobbu Scay (an anagram for editor Bob Duscay) and appears during the Canto Bight section of the film. Hamill can’t be seen but can be heard voicing the character. The actor is an award-winning voice over artist, most famous for voicing The Joker in “Batman: The Animated Series.”

During production, Hamill went up to Johnson and told the director he would love to do “the CGI thing,” referencing Lupita Nyong’o and Andy Serkis’ work in the series as Maz Kanata and Supreme Leader Snoke, respectively. Johnson approved and allowed Hamill to be involved in the casino setting of Canto Bight. This portion of the film finds Finn (John Boyega) and Rose (Kelly Marie Tran) invading a casino to find an infamous code-breaker.

“I got to go to the set of the casino and see in detail 150 extras in jaw-dropping costumes,” Hamill told Entertainment Weekly.

Since we don’t know which creature on Canto Bight actually is Dobbu Scay at this point, we’ll have to re-watch “The Last Jedi” and listen carefully to figure out which voice belongs to Hamill. “Star Wars: The Last Jedi” is now playing in theaters nationwide.

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Source: IndieWire film

December 17, 2017

James Gunn Doesn’t Care If Bashing Donald Trump Loses Him Fans, Compares the President to Hitler and Putin

James Gunn isn’t backing down to backlash he’s facing after tweeting what some are saying is an inappropriate joke about President Donald Trump. The “Guardians of the Galaxy” director posted on December 15 a joke that described what the interview process is like between Trump and any prospective staffer.

Gunn’s joke included Trump asking the following two questions: “Do you know anything about the position?” and “Are you on my dick?” The person that answers “no” and “yes,” respectively, gets hired.

Transcription of Trump with anyone he’s appointed to anything.
TRUMP: Do you know anything about the position?
CANDIDATE: No, sir, I do not, nothing.
TRUMP: Are you on my dick?
CANDIDATE: Yes, sir, I am completely, always on your dick, forever.
TRUMP: You’re in.

— James Gunn (@JamesGunn) December 15, 2017

Some of Gunn’s fans did not find the NSFW joke at all amusing, but the director is totally comfortable with losing fans if it means speaking out in a way he feels is honest and necessary. After years of never speaking out about politics and the President on his Twitter account, Gunn got to a point where he could no longer remain silent.

“In my years on social networking I have never spoken out politically,” Gun tweeted. “But we’re in a national crisis with an incompetent President forging a full-blown attack on facts and journalism in the style of Hitler and Putin.”

In my years on social networking I have never spoken out politically. But we’re in a national crisis with an incompetent President forging a full-blown attack on facts and journalism in the style of Hitler and Putin. I’m okay with losing fans with my choice to speak out. https://t.co/0BWRrPl5Vc

— James Gunn (@JamesGunn) December 16, 2017

Gunn’s defense has received support from fellow filmmakers such as “Logan” and “The Wolverine” director James Mangold. “With you one 100%, James,” Mangold tweeted. “When someone shits the bed I don’t want to hear from the people who sleep in shit.”

With you one 100%, James. There are not two sides to everything. When someone shits the bed I don’t want to hear from the people who sleep in shit. We have an ignorant unstable narcissistic fool driving our national bus. My kids are in that bus. Wake up, people.

— Mangold (@mang0ld) December 16, 2017

Gunn was last in theaters with “Guardians of the Galaxy Vol. 2” over the summer. He’ll return to the Marvel franchise with the third entry in the trilogy.

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Source: IndieWire film

December 17, 2017

‘The Disaster Artist’ Leads Specialty Box Office vs. ‘Star Wars: The Last Jedi’

A24’s “The Disaster Artist” and “Lady Bird” led the pack of specialized successes, again landing in the weekend’s Top 10 chart. Both had to hold off the usual pre-holiday dip as well as the massive draw across all audiences for “Star Wars: The Last Jedi.”

A total of eight recent limited releases expanded this weekend –all their theaters combined add up to about the same number of theaters as “The Last Jedi,” which earned 22 times as much as Woody Allen’s laggard “Wonder Wheel” (Amazon), with less than $10 million this weekend.

To a large extent grosses this week are gravy on top of past totals and more importantly a build-up to the most lucrative time of the year for adult moviegoing. That starts in earnest on Christmas Day. More viable titles are competing than most years, and not all will be optimally available. But distributors hope to regain their momentum with the return of the award circuit in January.

The top specialty news this week was the shocking announcement of the imminent end of current operation of Manhattan’s Lincoln Plaza Theater. By far the most important platform theater for foreign language and many other top arthouse fare, its uncertain future bodes badly for the state of the market.

Heading into initial limited release this Friday is 20th Century Fox’s Steven Spielberg valentine to journalism, “The Post.” Also in limited initial runs are Entertainment Studio’s Christian Bale western “Hostiles” and Michael Haneke’s “Happy End” (Sony Pictures Classics) this week. Winding up the year are “Film Stars Don’t Die in Liverpool” (Sony Pictures Classics) and the Oscar Foreign Language shortlisted German entry “In the Fade.”

No grosses were reported for Errol Morris’ documentary-fiction hybrid “Wormwood” (released in theaters as a four-hour feature rather than the multi-episode version already available on Netflix) and the one-week qualifying run for “The Leisure Seeker” (Sony Pictures Classics), starring Golden Globe Comedy Actress nominee Helen Mirren.

Opening

Birdboy: The Forgotten Children (GKids) – Metacritic: 74; Festivals include: San Sebastian 15

$5,684 in 4 theaters; PTA (per theater average): $1,442

This Spanish animated film festival veteran is the latest to qualify for 2017 domestic awards with its four theater New York/Los Angeles release. The initial response to this dark story about children struggling to survive in a post-apocalyptic dystopia was minimal.

What comes next: This doesn’t look to be one of GKids bigger hits, with future bookings likely tied to a long-shot Oscar nomination.

Available on Video on Demand:

The Ballad of Lefty Brown (A24/South by Southwest 2017) – $6,115 in 2 theaters

International releases:

Youth (China Lion/Toronto 2017) – $260,000 in 30 theaters

Courtesy of NEON

Week Two

I, Tonya (Neon)

$176,189 in 5 theaters (+1); PTA: $35,238, Cumulative: $553,554

Margot Robbie and Allison Janney’s multiple award nominations boosted a strong second weekend. Being the last of a string of pre-Christmas platform openers set the movie up to more competition, less seat availability in prime theaters, general lower grosses these pre-holiday weeks, and now “The Last Jedi.” So the movie’s continuing strength bodes well for its slow rollout ahead; its wide national break is tied in to certain mid-January Oscar action.

Ongoing/expanding (Grosses over $50,000)

The Disaster Artist (A24) Week 3

$2,637,000 in 1,010 theaters (+170); Cumulative: $12,932,000

Globe and SAG nominee James Franco’s good film about a bad film continues to show interest. Despite adding more theaters, it fell close to 60 per cent, however. Among the recent platform releases, it likely was most vulnerable to “The Last Jedi” with overlapping younger adult appeal. Still the show business comedy has quickly amassed strong numbers, and with Franco’s anticipated Best Actor Oscar nomination ahead after more holiday business the movie has a lot more gross ahead.

Lady Bird (A24) Week 7

$2,108,000 in 947 theaters (-610); Cumulative: $25,978,000

The movie lost a number of theaters, with A24 threading the needle to sustain two films at once as “Disaster” expands. A per theater average of over $2,000 at this point this wide is still strong, and gives them a strong case to continue onward. With strong Oscar support ahead, this has the potential to soar over $40 million, way past A24’s “Moonlight” peak $27 million.

Kerry Hayes

The Shape of Water (Fox Searchlight) Week 3

$1,738,000 in 158 theaters (+117); Cumulative: $3,621,000

Excellent third weekend results for the calibrated expansion of Guillermo del Toro’s 1960s fantasy sci-fi romance. For this time of year and with multiple alternatives for moviegoers, a per theater average at this number of theaters of over $11,000 is quite credible. This is positioned to expand further over the prime holiday period ahead and prosper beyond, with expected nominations giving it a further boost in mid-January. Before then it expands to over 700 theaters this Friday.

Three Billboards Outside Ebbing, Missouri (Fox Searchlight) Week 6

$1,625,000 in 944 theaters (-676 ); Cumulative: $21,374,000

Fox Searchlight has already accumulated a strong total — nearing their best for any release this year other than their more general audience “The Gift,” which it will soon exceed. The Ozark comedy/drama lost a large chunk of theaters this weekend, but should continue at many of the better grossing ones through the holidays. Then with certain nominations ahead expect a January rebound and a chance to reach the level substantially higher than its current total.

Darkest Hour (Focus) Week 4

$850,000 in 84 theaters (+31); Cumulative: $2,341,000

More than respectable results for this older-audience skewing historical drama spotlighting Churchill in 1940 at a moment of crisis. Focus has set this up for awards (most likely Gary Oldman’s Best Actor nod) and elevated results over Christmas, with over 600 new theaters added this Friday.

Call Me By Your Name (Sony Pictures Classics) Week 4

$491,933 in 30 theaters (+21); Cumulative: $2,005,000

The careful handling of this high-end acclaimed gay romance, with more evidence this week of its strong awards draw, continued with its still limited expansion in the face of a tricky calendar. Films which include a strong draw for older audiences often delay their wider runs this time of year. Next Friday sees a selection of new city openings, with some further expansion on Jan. 12 with its wider national break the following week right after its expected significant Oscar nomination haul.

Wonder Wheel (Amazon) Week 3  47-379

$472,216 in 536 theaters (+489); Cumulative: $851,469

Woody Allen’s 1950s Coney Island-set drama expanded quickly in the heart of weak playtime and massive competition. The grosses came in at less that $1,000 per theater. That will make it very tough to get sustained runs going into the difficult time of the year to find screen space. Amazon’s first stand-alone theatrical release won’t be Allen’s worst grossing film — even with adjusted numbers “Cassandra’s Dream” and “September” only managed a little over $1 million. But it is a major drop from his recent work, nowhere near the level of “Midnight in Paris” and “Blue Jasmine.” His films have normally prospered in non-prime specialized periods, with the high level of current alternatives among the problems “Wonder Wheel” is facing.

The Man Who Invented Christmas (Bleecker Street) Week 4

$263,819 in 319 theaters (-401); Cumulative: $5,010,000

The seasonal tie-in isn’t giving much of a boost to this story of Charles Dickens creating “A Christmas Carol.”

Roman J. Israel, Esq. (Sony) Week 5

$140,000 in 213 theaters (-1,215); Cumulative: $11,730,000

Popular star Denzel Washington’s surprise Golden Globe and SAG lead actor nominations did little to boost this legal drama, which lost most of its theaters and will likely retain even fewer ahead.

Loving Vincent (Good Deed) Week 12

$79,626 in 82 theaters (-63); Cumulative: $5,970,000

This early September animated release is still in play, with $6 million in sight this week. If it can find screens to hold over Christmas (a tough assignment) this still could soar higher.

The Florida Project (A24) Week 11

$57,552 in 66 theaters (-35); Cumulative: $5,133,000

Late in its run, Sean Baker’s  acclaimed film about transient Orlando kids is still getting some play after a respectable run for a non-star indie project. Upcoming awards attention should enhance the visibility of the title, which will also get early home viewing exposure.

Also noted:

My Friend Dahmer (FilmRise) – $40,000 in 40 theaters; Cumulative: $1,246,000

Victoria & Abdul (Focus) – $20,000 in 56 theaters; Cumulative: $22,178,000

Jane (Abramorama) – $27,686 in 27 theaters; Cumulative: $1,377,000

The Breadwinner (GKids) – $13,311 in theaters; Cumulative: $184,080

Faces Places (Cohen) – $11,613 in 9 theaters; Cumulative: $566,116

Tom of Finland (Kino Lorber) – $11,500 in 10 theaters; $288,136

Source: IndieWire film

December 17, 2017

Jonny Greenwood’s ‘Phantom Thread’ Original Score is Used in Nearly 70% of the Movie

Paul Thomas Anderson fans are well accustomed to how instrumental Jonnny Greenwood’s music is to the auteur’s body of work. Whether it’s the foreboding strings in “There Will Be Blood” or the discordant percussion in “The Master,” Greenwood’s original scores expertly capture Anderson’s tones. This fact is especially true in “Phantom Thread,” which marks the fourth collaboration between Anderson and Greenwood.

Variety reports that Greenwood’s score has been included in 90 minutes of the 130-minute drama, which means you’ll be hearing the score in nearly 70% of the movie. Greenwood’s music has always been important to Anderson’s films, but it’s dominant in “Phantom Thread” in a way it never has been. In some ways it acts as a Greek chorus of sorts, changing and perverting its central melody as the relationship between the two central characters takes an unusual evolution.

“We talked a lot about ‘50s music, what was popularly heard then as well as what was being written and recorded,” Greenwood told Variety about coming up with the sore with Anderson. “Nelson Riddle and Glenn Gould’s Bach recordings were the main references. I was interested in the kind of jazz records that toyed with incorporating big string sections, Ben Webster made some good ones, and focus on what the strings were doing rather than the jazz musicians themselves.”

Greenwood figures that the movie’s central character, Reynolds Woodcock (Daniel Day-Lewis), would’ve been a fan of baroque music, so he made sure to channel that sound when writing the theme music for him. The musician says he used piano as a common ground between the romantic music and the more formal music required to channel the “more buttoned-up themes that suited Reynolds.”

“[The romantic movements] couldn’t cross into pastiche, or be in any way ironic. It took a long time to figure out how to do that,” Greenwood admitted.

The musician conducted the score at his London studio with conductor Robert Ziegler and a 60-string ensemble, the most he’s ever used in his career. When Ziegler found out just how much of the score appears in the finished cut, he told Greenwood, “That’s not a soundtrack, that’s a musical!”

Greenwood says he’s “lucky” to be able to work on films like this where he can develop the score over such a long period of time. “Phantom Thread” opens in theaters Christmas day.

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Source: IndieWire film

December 17, 2017

‘Star Wars: The Last Jedi’: Rian Johnson on Directing the Franchise’s Most Emotional Reunion

SPOILER WARNING 

“Star Wars: The Last Jedi” begins with the possibility of several touching reunions occurring over the next 152 minutes: Rey and Finn, Finn and Poe, Kylo Ren and Leia, Kylo Ren and Rey. But no reunion carries an emotional wallop quite like the moment Luke and Leia finally reunite for the first time since “Return of the Jedi.”

Read More: ‘Star Wars: The Last Jedi’: Rian Johnson and Mark Hamill Break Their Silence on Luke’s Storyline

The scene occurs late in the film during the middle of the climactic battle between the Resistance and the First Order on the mineral planet of Crait. Luke appears inside the Resistance base and has a brief and incredibly touching scene with his sister, made all the more emotional since it represents the first time Mark Hamill and Carrie Fisher have been on screen together in 34 years and the last time they ever will be.

Leia cuts the tension between them by joking that she has changed her hair, a line Fisher wrote herself. The two then mourn the loss of Han Solo, with Luke even giving Leia Solo’s pair of dice that were hanging in the Millennium Falcon. “No one’s ever really gone,” Luke says as Leia looks down at the dice. He kisses her on the forehead and prepares to march out of the base to face Kylo Ren.

“It’s bizarre because, you know, obviously we didn’t know that it was gonna be a farewell scene,” Johnson told The Daily Beast about directing the emotionally-charged reunion scene. “And it’s odd because I remember when we were shooting the Luke-Leia scene, it felt like church on set. It was usually a jovial set, you know, a really happy, bouncy set. And that day, everyone was just quiet and just watching these two.”

“It was like a hush over the whole set,” he said. “It really did feel like church. I remember there being a weight to the whole thing and we all just felt like, we’re seeing something really special happen. In a way that it never, ever was on the set for us. There was, very weirdly, weight.”

Johnson has had to watch the film numerous times since Fisher’s passing, and he calls the experience “very complicated.”

“God, I feel lucky, you know? I feel lucky to have this performance from her, I feel lucky we had those moments with her,” Johnson said. “I feel so lucky that her last moments in the movie, which are at the very end of the movie, are words of hope given to Rey, given to us. Yeah. God. I wish she was here to see it.”

“Star Wars: The Last Jedi” is now playing in theaters nationwide.

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Source: IndieWire film