Category Archive : FilmTV

The world of Stephen King adaptations runs the gamut across nearly every aspect of filmmaking. You have theatrically released ones and straight to video ones. Stories stretched into TV miniseries and short stories used as segments of anthology movies. Of course, there are features that do well with critics but fail with audiences and vice versa, fail with critics but are eaten up but movie goers worldwide. 1408 came at the beginning of the King renaissance in 2007 and was a success with both critics and audiences but somehow stands alone in the mid 2000s horror pantheon as a successful but forgotten movie. Who was originally going to star in the title role? How many endings does the movie technically have? How meticulous was the production about the number 1408? Grab your room keys as we find out what happened to 1408.

Stephen King had released books in several different ways throughout his career by 1999. These included being published in magazines, standard novels, short story collections, and even a damn calendar in the case of Cycle of the Werewolf. He would break up The Green Mile into easily digestible entries for younger readers and in 1999 he would release an audio collection called Blood and Smoke. It would only include 3 stories but one of them would be the hotel ghost story 1408. That story would move to print in the short story collection Everything’s Eventual along with its Blood and Smoke brethren as well as a handful of others. King properties tend to do well one way, or another so Dimension optioned the story rights at the end of 2003. They sat on it for a bit until October of 2005 when they announced that Mikael Hafstrom was going to direct with a script done by Scott Alexander and Larry Karaszewski. These two would eventually be joined by Matt Greenberg.

Hafstrom is a Swedish writer and director who before this movie had done a fair amount of TV and was first seen widely by American audiences when he directed the thriller Derailed starring Jennifer Aniston and Clive Owen. This movie would help him get The Rite starring Anthony Hopkins and Escape Plan with Sly and Arnie. Greenberg has a fun resume including writing the third Children of the Corn movie, The Prophecy II, and Halloween H20. Alexander came from a different part of the film world with things like Man on the Moon, The People vs Larry Flint, and Agent Cody Banks. He does have some horror roots with episodes of both Monsters and Tales from the Crypt on the small screen. The third writer, Karaszewski, is a writing partner of Alexander and has nearly identical credits and recently wrote every episode of the second season of American Crime Storry.

These three were tasked with coming up with the shooting script for 1408 and had a field day making references to both the number 1408 and 13. 1408 is the title of the story and 13 is seen as unlucky in many facets of life to the point where some buildings don’t even have a 13th floor. Many numbers that appear on screen add up to these numbers and it is easy to notice when you know the creators goal. The cast is a small but effective group with John Cusack as writer Mike Enslin, Sam Jackson as the hotel manager and Tony Shalhoub as Mike’s publicist. In smaller roles we have Isiah Whitlock Jr. as a hotel engineer and an Mary McCormack as Enslin’s ex-wife. McCormack wasn’t the first choice and actually replaced Kate Walsh who had to exit due to commitments on the show Grey’s Anatomy. Cusack wasn’t originally attached either as originally Keanu Reeves was to portray the non-fiction horror writer.

1408 (2007) – What Happened to This Movie?

Cusack has done other horror and other King properties with roles in Stand by Me and The Cell which also co-starred Jackson. Shalhoub is probably most famous for Monk or Wings but had a large role in the remake of 13 Ghosts from 2001. Jackson had done some horror and horror adjacent titles like a cameo in Exorcist III and Snakes on a Plane and would go on to co-star in Spiral. The basic conceit of a man staying in and being stuck in a haunted hotel room was very short, hence being in a collection of short stories, but it was almost merely a footnote. King originally wrote a very short premise as a sort of guide for one of the many types of horror stories there are for his second nonfiction work On Writing but he liked it so much that he ended up fleshing it out for a proper short story to include in a collection.

The story follows Mike Enslin, a skeptic who makes a living writing about supposed supernatural events. He is a very cynical man who seems to loathe both his audience’s belief in what he writes about and the very subject matter itself. While promoting his latest release he gets a postcard from a hotel named The Dolphin with an ominous warning not to go into room 1408. He heads there and requests the room before being told no as well as its dangerous and frightening history. He gets into the room eventually and begins a battle of wits with the very room itself. He faces off against both ghosts from the rooms’ past as well as ones that haunt his own personal history before the whole thing resetting and the room reverting to what it was when he first entered. He is told he can relive the last hour over and over again or he can take himself off the board permanently and “Check Out”. Mike declines this and sets the room on fire with a makeshift firebomb and then, depending on what version you are watching, you would be treated to one of 4 endings. Yes. FOUR.

The original ending that was shot was a downer for audiences according to director Hafstrom. The original shot ending has Mike dying as a result of the fire but killing whatever evil had hold of the room as well. At the funeral, the hotel manager brings a box of tape recordings to try and give to Mike’s ex-woife, but she refuses, and Olin sees a burnt corpse ghost version of Mike before seeing another apparition of a father and daughter walking away together. The scene switches back to the hotel when ghost Mike is pleased that he has beaten the room, but we also get the happy end that Mike and his daughter, who passed from cancer, are reunited at last. Finally, the room being beaten has allowed all the other souls to be freed as well. While this sounds like it has happy written all over it with a reunion of father and daughter and the trapped ghosts being freed, audiences just hated seeing Mike die.

The ending that theaters got and that shows up in a lot of streaming platforms in addition to the theatrical DVD release is Mike actually surviving the ordeal and ending back up with his ex. They play a recording that has them hear their daughters voice which also confirms Mikes account of what happened. A slightly altered version for ending number 3 has only Mike hear his daughters voice which could confirm his journey or confirm that maybe he is a little crazy. The 4th ending that was shot includes Mike still dying but instead of a funeral we get to see his publicist find the manuscript and recordings only to have his office door supernaturally shut and Mikes fathers voice give an ominous warning. While the theatrical ending was the only one available on the DVD release, the two disc Blu-ray has the director’s cut ending as well as all of the other endings as special features on the discs.

1408 (2007) – What Happened to This Movie?

Cusack would go on to say that he based his performance of a man going crazy and seeing things that shouldn’t exist on his own experiences tripping on LSD. While his character is certainly tripping in a way throughout the performance, the audience isn’t crazy if they notice an over abundance to both the number 13 and the number 1408. In terms of the number 1408 we have things like the DVD run time being 104 minutes and 8 seconds, the frequency for the clock radio being 104.8 mhz, and an ad on the back of a plane ending in the number 1408. 13 is a lot more prevalent but also takes more detective work on the part of the viewer. These can get into the weeds a little like with the Jim Carrey vehicle The Number 23 but there are still quite a few. Radio clock digits ad up to 13 in multiple scenes, the Bible verse Mike opens up to is Samuel 2:11 which add up to 13, the classical music selection that plays during a scene is Serenade Number 13 and the list goes on. While the movie is called 1408, the number 13 is more prevalent even in that there is no 13th floor due to superstition, and that 1408 also adds up to 13. One last real piece of information is found when Mike threatens legal action against the hotel for not allowing him to go into the room. This is based on fact that hotels can kick people out for infractions or not rent specific rooms due to damage, but they can’t refuse a guest a room for any other reason.

1408 was released on June 22nd, 2007, and was a massive success. While the budget was 25 million, the film opened at number 2 with a take of over 20 million. This is not your typical summer blockbuster fare, but it would go on to gross 133 million in its theatrical run and make millions more with its multiple releases both for rent which gave Blockbuster an exclusive version to get to customers, and its dual platform retail release. It is still in the top 10 all time for King related movies at the box office and considering just how large that list is, that’s no small feat. We may never know exactly what drove the horror in that room in the Dolphin Hotel but we do now know what happened to 1408.

A couple of the previous episodes of What Happened to This Horror Movie? can be seen below. To see more, head over to our JoBlo Horror Originals YouTube channel – and subscribe while you’re there!

The post 1408 (2007) – What Happened to This Movie? appeared first on JoBlo.

It’s no mean feat to adapt an acclaimed play for the screen. Stay too true to the source material, and it becomes claustrophobic and uncinematic. Veer too far away, and you lose the original’s magic. In many respects, Malcolm Washington’s adaptation of August Wilson’s 1987 Pulitzer Prize-winning play lands in the middle. Its stage roots are evident, but he has a handle on the filmmaking craft expands beyond what can be done in a theatrical space.

It’s a handsome work, one that features a cast that is a veritable who’s who of people who should have won Oscars by now. In 1936 the fast-talking Boy Willie (John David Washington) and his naïve pal Lymon (Ray Fisher) make their way from Mississippi to Pittsburgh with a truckful of watermelons, hoping that the proceeds accrued from selling the ripe fruit and an ornate piano in the possession of his sister Berniece (Danielle Deadwyler) will be enough to purchase a plot of land. Their uncle Doaker (Samuel L Jackson) remains the pragmatist in this situation and attempts to hold the peace between his at-odds family members, but Berniece stands firm, recruiting her reverend love interest Avery (Corey Hawkins) to purge the piano of its ghostly hold upon generation after generation of her family.

The piano itself is one of the film’s most bewitching details, carved with their family’s history and seeming to scream out with the pain of their enslaved ancestors. But tonally, the film is not able to play from as wide a range of keys, moving from twinkly romance to gothic horror to righteous fury. The seams are exposed, and with a plethora of flashbacks also in the mix, each shift feels like the film is adopting a new instrument rather than born of a single orchestra.

The intimate way that Malcolm Washington frames each of his actors’ faces as they speak and manoeuvres light from fields at dusk to mahogany-lined rooms at dawn is exquisite, yet the film never entirely justifies its own existence. It lands as more of a showcase of assembling the many talents on board rather than an adaptation shining a new light on an already treasured work.

Closing the chasm between art conceived for the stage and screen is a noble endeavour, particularly in a world where tickets to see Wilson’s work live are, at best, extortionately expensive and, at worst, entirely inaccessible. It’s a truly warming thing to see Netflix invest in bringing complex films for grown-ups based on African-American classics to the masses and to see Jackson doing subtle, well-directed work without his MCU-mandated eye patch. But much like what the film’s themes speak to, this debut alludes to a brighter future, and serves best as the foundation upon which Malcolm Washington’s greatness will be built upon rather than a monument to it.

Little White Lies is committed to championing great movies and the talented people who make them.

By becoming a member you can support our independent journalism and receive exclusive essays, prints, film recommendations and more.


ANTICIPATION.

There is awards buzz, but that is no indicator of quality.
3

ENJOYMENT.

This is high-quality but low-impact work.
3

IN RETROSPECT.


Much like a box of quality street, enough good stuff to sustain itself.

3


Directed by



Malcolm Washington

Starring



Samuel L Jackson,


John David Washington,


Danielle Deadwyler

The post The Piano Lesson review – high-quality but low-impact work appeared first on Little White Lies.

russell crowe, joaquin phoenix

Ridley Scott is currently on the promotion circuit for his latest epic, Gladiator II. The filmmaker has been hyping throughout the whole production about the grand scale of the film and has even called it the biggest movie he’s ever made. Scott recently spoke about making such a film at 86 years old (he turns 87 this month) and how he doesn’t plan to slow down. Scott explained, “Are you kidding? I wouldn’t be doing it [if directing felt like work]. It’s my passion and therefore my pleasure. I think it actually keeps me going. I’ve damaged myself with too much tennis. I’ve got dodgy knees and I’m now getting injections in them — I can’t be the old guy staggering around the set because when we were doing Gladiator II we’re in 112 degrees and I have to be out there.”

Variety reports that Scott nearly had a problem on his hands on the first film when Joaquin Phoenix was getting cold feet about the movie. Scott told The New York Times, “[Joaquin] was in his prince’s outfit saying, ‘I can’t do it.’ I said, ‘What?’ And Russell said, ‘This is terribly unprofessional.’” The director then revealed how he talked Phoenix down and was able to get him to follow through, “I can act as a big brother or dad. But I’m quite a friend of Joaquin’s. Gladiator was a baptism of fire for both of us in the beginning.”

This revelation comes just as Phoenix had publicly left a Todd Haynes project abruptly as filming was set to start. Haynes’ film revolves around two men who are intense lovers and leave California for Mexico. The reason for Phoenix’s exit is unclear. Still, some have wondered if the project’s intimate and explicit content was a factor. Phoenix would be inquired about the situation surrounding his abrupt exit and he would reply, “If I do, I’d just be sharing my opinion from my perspective and the other creatives aren’t here to share their piece so I don’t think that would be helpful. So I won’t.”

Additionally, James McAvoy would reveal that he had to quickly prepare for his role in Split after Phoenix would also drop out of that film a couple weeks before filming commenced.

The post Ridley Scott reveals that Joaquin Phoenix was getting cold feet about playing Commodus in Gladiator appeared first on JoBlo.

PLOT: Two Mormons (Chloe East and Sophie Thatcher) on a mission knock on the wrong door and find themselves fighting for their lives, faith, and sanity.

REVIEW: Heretic is the latest horror flick from A24, and like many of their genre efforts, it’s a provocative one. Questions of theology and faith are always timely, and much of this diabolical and impressively harsh horror film deals with whether or not – in the face of great conflict – you can maintain your faith or be swayed by both the desire to save your own life and the evidence you’re being presented with.

In this, Sister Paxton (Chloe East) and Sister Barnes (Sophie Thatcher) are young Mormons fulfilling their duties as missionaries by essentially going door-to-door to try to convert people to their faith. Neither is a particular stickler for Mormon theology, with the movie opening with them discussing pornography and condoms, and neither is so naive that they don’t know that many of the people they’re approaching will raise an eyebrow at them. 

Of the two, East’s Paxton is younger and more impressionable, while the slightly older Barnes is somewhat more street-smart. Both are excellent, with Thatcher emerging as a future scream queen between this, The Boogeyman, Yellowjackets, and an appearance in MaXXXine. East, who made a big impression in Steven Spielberg’s The Fabelmans, is as delightful as the sunny, optimistic Paxton, having the same manner and vibe Amy Adams did in some of her earlier work, like Junebug.

However, the movie is dominated by Hugh Grant in his first foray into horror. As the initially affable Mr. Reed, he lures the two girls out of a storm by promising them blueberry pie and tells them he has a wife so that the two, who aren’t allowed to be alone with a man, will be more comfortable. His initially friendly questions about Mormonism turn into a more existential debate about philosophy, only for his manner to darken as the girls realize they are his prisoners and may not be able to escape with their lives. 

Heretic review

It’s certainly a far cry from the stammering rom-com roles that made him such a heartthrob, but in recent years, Grant has excelled at playing darker characters. However, none have been as hardcore as this one, and at times, he reminded me of a great British character actor from the 60s, 70s, and 80s who used to excel in genre roles like this – Patrick McGoohan (Scanners and The Prisoner). He radiates fiendishly clever intelligence, and he’s given a sadistic streak I didn’t see coming, which feels bold for a mainstream horror flick.

This comes from Scott Beck and Bryan Woods, who are most famous for writing A Quiet Place. Their scripts always have a great hook, and Heretic has one that I won’t spoil here. An interesting thing about this is how limited the locations are, and the movie could almost be adapted as a stage play, albeit a particularly gruesome and scary one. 

While their last directorial effort, 65, wasn’t a big success, their work here is nonetheless confident, with good cinematography and a good soundtrack that includes memorable use of The Hollies’ “The Air I Breathe” and Radiohead’s “Creep.” Yet, it’s the script and performances that make Heretic a fun horror romp, even if, at close to two hours, it feels like it’s spinning its wheels a bit too much and maybe (occasionally) gets a little too clever for its own good. 

Heretic should be another solid horror hit for A24, with the provocative concept likely to inspire a lot of talk among the growing A24 cult. I thoroughly enjoyed catching it at TIFF, and I hope Hugh Grant keeps taking on darker roles. They really suit him. 

The post Heretic Review: Hugh Grant’s First Horror Movie Is a Doozy appeared first on JoBlo.

nosferatu

You have such a beautiful neck…and as it seems, Robert Eggers’ latest, Nosferatu, is living its mark on audiences. That might feel like a pun, but this film might be contending for one of the best of the year.

With just three films to his name so far, Robert Eggers quickly solidified himself as one of the premiere horror directors out there — and one isn’t even close to being in that genre: The Northman. However, Eggers might be heading towards the Oscars stage with Nosferatu, as it is earning some serious praise early on. Check out some of the initial reactions from social media, starting off with our very own Jimmy O’s take:

As we all know, horror is long overdue for justice in terms of being represented at the Academy Awards. But if we could see any director working to chisel away at the mold, it’s Rober Eggers, who is about as heralded as it gets when it comes to the genre.

It has been more than 80 years since Count Orlok was brought to life (so to speak) on the big screen, with F.W. Murnau’s atmospheric Nosferatu, which starred Max Schreck as the copyright-dodging character (the film is an unauthorized adaptation of Bram Stoker’s Dracula). Interestingly, the making of that film would be documented — and embellished — in 2000’s Shadow of the Vampire, which starred Willem Dafoe as Schreck and wondered if the actor portraying the title character actually is a vampire. Dafoe has passed the torch now to Nosferatu co-star Bill Skarsgård. Werner Herzog would give the other most famous adaptation, remaking Nosferatu in 1979 with Klaus Kinski, who might not be a vampire but is one of the most fascinating actors to ever hit the screen.

But it seems like Robert Eggers’ own Nosferatu is officially in the conversation as one of the best versions of the story. The film is “gothic tale of obsession between a haunted young woman in 19th century Germany and the ancient Transylvanian vampire who stalks her, bringing untold horror with him.” Nosferatu arrives on December 25th.

What do you think of the first reactions to Robert Eggers’ Nosferatu? Are you more excited for it now than before?

The post Nosferatu first reactions: One of Robert Eggers’ best might be heading to the Oscars appeared first on JoBlo.

nosferatu

You have such a beautiful neck…and as it seems, Robert Eggers’ latest, Nosferatu, is living its mark on audiences. That might feel like a pun, but this film might be contending for one of the best of the year.

With just three films to his name so far, Robert Eggers quickly solidified himself as one of the premiere horror directors out there — and one isn’t even close to being in that genre: The Northman. However, Eggers might be heading towards the Oscars stage with Nosferatu, as it is earning some serious praise early on. Check out some of the initial reactions from social media, starting off with our very own Jimmy O’s take:

As we all know, horror is long overdue for justice in terms of being represented at the Academy Awards. But if we could see any director working to chisel away at the mold, it’s Rober Eggers, who is about as heralded as it gets when it comes to the genre.

It has been more than 80 years since Count Orlok was brought to life (so to speak) on the big screen, with F.W. Murnau’s atmospheric Nosferatu, which starred Max Schreck as the copyright-dodging character (the film is an unauthorized adaptation of Bram Stoker’s Dracula). Interestingly, the making of that film would be documented — and embellished — in 2000’s Shadow of the Vampire, which starred Willem Dafoe as Schreck and wondered if the actor portraying the title character actually is a vampire. Dafoe has passed the torch now to Nosferatu co-star Bill Skarsgård. Werner Herzog would give the other most famous adaptation, remaking Nosferatu in 1979 with Klaus Kinski, who might not be a vampire but is one of the most fascinating actors to ever hit the screen.

But it seems like Robert Eggers’ own Nosferatu is officially in the conversation as one of the best versions of the story. The film is “gothic tale of obsession between a haunted young woman in 19th century Germany and the ancient Transylvanian vampire who stalks her, bringing untold horror with him.” Nosferatu arrives on December 25th.

What do you think of the first reactions to Robert EggersNosferatu? Are you more excited for it now than before?

The post Nosferatu first reactions: One of Robert Eggers’ best might be heading to the Oscars appeared first on JoBlo.

Art is political, and none more transparently so than documentary No More Land. Presented at the 2024 Berlin Film Festival, the film’s co-director Yuval Abraham explained its premise: “We stand before you together. I am Israeli; Basel [Adra] is Palestinian. […] In two days we will go back to a land where we are not equal. This apartheid has to end.” Abraham was not alone in protesting the Israeli occupation, but while this recent wave of campaigning was sparked by the accelerated violence that has occurred after the Hamas attack of October 7th, what makes this film poignant is that it covers happenings within the West Bank up until right before that fateful moment.

Demolition orders have become commonplace in Masafer Yatta, Adra’s neighbourhood in the West Bank. The Israeli government has decreed that this land, farmed by generations of Palestinians for a century, must be bulldozed into a military training ground. Without warning, any of the families could be forced to flee and watch helplessly as their homes crumple like paper. Like Batman, Basel rushes to film the carnage as soon as he receives a call. As we watch, one girl hyperventilates and whispers, “No, please,” – yet another childhood is crushed, and the image is added to the list of crimes that this state should be held accountable for.

“We welcome anyone who stands with us,” a resident states as he welcomes Yuval, an Israeli journalist, into his home for ginger coffee. Yuval gets stuck in, helping lay the cement to rebuild a home in the middle of the night. His new friends tease him on his slow pace. Fresh-faced and typing up articles on every demolition, Basel jokes that Yuval eagerly wants to end the occupation in 10 days. Meanwhile Basel’s memories of a sheep farming youth are tainted by the arrest of his father. Two decades later, he treads the same path, leading protests three times a week.

The claustrophobia of the diminishing West Bank is emphasised throughout. While Yuval can move freely across the country, we don’t see his cushier life. The camera instead remains with Basel, depressed and doomscrolling on his phone in a half-built house, law degree and accompanying youthful optimism gathering dust. One frustrating detail is the halting of a demolition of a school and its street, only because Tony Blair visited the protesters. Clearly Western powers can prevent the carnage, but that requires allyship like Yuval’s to cross the pond into the corridors of power.

While Basel runs towards the danger with his lens trained on the colonisers, the act of filming makes him a target, so he lives a precarious existence trained simultaneously towards and away from the guns. It is terrifying work, and briefly stepping into his shoes, the shaking camera blurrily filming the ground. There is no relief in the final frames of the film, only more destruction. The battle is uphill and it rages on. No Other Land exemplifies the bravery and patience of activists and journalists. The occupation started over 70 years ago, and together, this unlikely pair capture its inhumanity with humanity.

Little White Lies is committed to championing great movies and the talented people who make them.

By becoming a member you can support our independent journalism and receive exclusive essays, prints, film recommendations and more.


ANTICIPATION.

The occupation is decades long but this new friendship sparks much needed hope.
5

ENJOYMENT.

A carefully curated microcosm of Palestinian resistance through family and community.
4

IN RETROSPECT.


If you weren’t already radicalised… this is the film to watch. Free Palestine.

5


Directed by



Yuval Abraham,


Basel Adra,


Hamdan Ballal,


Rachel Szor

Starring



N/A

The post No Other Land review – a microcosm of Palestinian resistance appeared first on Little White Lies.

If there is one contemporary German actor whose name you ought to know, it’s Franz Rogowski. Thanks to a background in dance, the physical virtuosity of his performances is often the first thing to be noticed, but in his gestures, delivery, and gaze there are emotional pulses that resonate beyond language and genre. Indeed, one of his break-out moments was an extended karaoke rage-out to Sia’s ‘Chandelier’ in Michael Haneke’s Happy End. Rogowski has since collaborated with masters such as Terrence Malick, Christian Petzold, and Ira Sachs, and it has placed him firmly on the world cinema map, while his recent roles in Sebastian Meise’s Great Freedom or Giacomo Abbruzzese’s Disco Boy captured by cinematographers Crystel Fournier and Hélène Louvart reveal the power of his characters’ opacity. In Andrea Arnold’s Bird, and through Robbie Ryan’s signature embodied camera, Rogowski radiates a warmth as a cheerful loner looking searching for his family. It’s a warmth that is not what Bailey – the film’s 12-year-old protagonist – wants, but it is what she needs.

The story of Bird concerns the life of 12-year-old Bailey, but the film is named after your character, who is not exactly a main character, but definitely not a side one. Where do you position him within the world of the film?

You might have experienced this as well, that feeling that you’re always the lead in your own life. So right now, you’re the principal role in your life, and I have the same feeling on my side of the screen. So I knew that if I am Bird, I’d have to see the world from his point of view whether the camera takes the same perspective or not. But if you just see a character, it could even be someone who only has one line in one scene, coming in and saying, ‘I have to go. My mum died.’ It has no importance for the film, narratively, but now if you then imagine someone’s mum dying: this is a major event in anyone’s life. Then, we would have witnessed a little fragment, and just a small second of a life that from the perspective of that individual means everything. So in theory, it was easy.

How did you approach the character in practice?

Andrea didn’t share a script with me. She only shared songs and pictures of a lonely, naked man floating above trees and meadows, swimming and climbing trees. When she told me that I would be some kind of a Mary Poppins figure that would accompany a girl on her journey, so I was prepared to support someone else and not lead the story. That puts you in a different mindset, where you form a triangle with the camera trying to guide and accompany the lead; to sometimes appear and then disappear. In this case, I was more driven by empathy, and I also felt like I was accompanying not just Bailey, but also Andrea. Part of this world, part of her is also Andrea. And Bird is also a part of Andrea’s self. And she told me that in the beginning, that this is actually a very personal energy for her. It’s one of the animal energies that she feels in herself. When I agreed to this project, I also agreed to be her Bird and be by her side.

There is a mythical gravity around Bird as well, which, in the way I see it, feeds into the independent, self-sufficient kind of characters that you’re often portraying in films. Is this a fair assessment, to say that you’re drawn to such roles?

We live in a world that likes to put things in boxes so we can sell them and ship them, you know. And if you have a cleft lip and a bit of a naval voice and a rough face, they will put you into a space that allows you to be the outsider, the villain, or some kind of a stranger with a little superpower. I guess that this place has been given to me in society, but in my private life, I am also quite social and not always only at the outskirts. I like it, and sometimes it’s very nice to observe. I am actually a bit of a voyeur, but I don’t think the roles I play represent me as a person. What I do like is when I feel that a film doesn’t translate everything into words, but gives space to other dimensions of cinema by creating these empty moments in between. Maybe a part of the loner energy is just me enjoying films that don’t need to talk all the time.

Andrea Arnold’s scripts are very bare and there’s a lot of conjuring happening in the moment, during shooting. But was there any other prep than, for example, your exchanges of music and talks?

For me, there wasn’t. I had her number. I knew I could call her. But I accepted that as a challenge. I guess if someone tells you to come to a party without telling you anything about it, it’s probably more interesting to just go there and see what happens.

Arnold finds inspiration in life and social issues, which bleed through all her characters. I know fiction is important for your craft – inhabiting a character as a fiction that becomes real – is part of your process. How did Bird channel this relationship between reality and fiction?

We would meet on set, and then just spend hours just hanging around in time and space, drinking coffee. The set included a house that was built after images from her own house where she grew up, and we were surrounded by neighbours that would really live there. We wouldn’t use any intimidating film artillery, no cranes, maybe a little truck around the corner, but it really came across as a little student production, and that is also key to blending these two worlds of realism and poetry. I guess Andrea is like a mixture of a tiger on the hunt and a very patient gardener. She would create these spaces in which all the ingredients are right, even if the camera isn’t ready. Also, this kind of film can easily turn into poverty porn, where a director uses the strong colours of poverty to make something that is hyper-real for wealthier people to look at in the cinema. And in her case, these are her people. This is how she grew up. And she’s one of the very few that has seen both worlds, those of Cannes and Kent. I think all these different layers of her personality make her the director that she is.

What you said makes me think of Bird’s ability to retreat in the background and still be a very integral part of the film world. What was it like for you during the shoot, when there were these moments of waiting, did they help your role?

It helped a lot. I mean, you come on set, you’re very ambitious, you do your thing, and then you realise, ‘Oh, wow, okay, the camera is not even on me.’ Most of the stuff that I’m doing as Bird is invisible. Nobody will ever see it. But does that really matter? Actually, it doesn’t, because I’m Bird, so I do my Bird thing. Soon, I also realised how precious and rare Andrea’s approach is, to create a microcosm in which you just hang around and then, you know, sometimes you shoot and sometimes you don’t, but somehow everything turned into one big experience. I hope that I can also one day create that basis of resonance for other people.

It’s very easy to read your work through the lens of physicality, especially with your background in dance, but Bird is skipping, twirling, basically floating. Levity is very important for this character. And I really wonder, how did you work with your body and your mind to get a performance that is both expressive and also very subtle?

Wow, that’s so, so kind of you and charming. I often feel heavy as a donkey.

Don’t we all?

Yeah, yes, we do. You know, I’m longing for levitation, but most of the time it’s just my back aching and me feeling guilty… But you’re right, that the first images that Andrea shared were images of a guy standing on a skyscraper, and pictures of man floating above nature. And, yeah, if you talk about birds, you always talk about ethereal energy. So when we started improvising on the street, I would often instinctively choose to be slightly elevated when accompanying Nykiya [Adams]. So Nykiya would walk the streets of realism, let’s say, and I would walk the paths of fantasy. I would just slightly elevate my path and walk on a little wall next to her, or stand on a little staircase, a little fence, a little chair, a table, and always somehow make myself slightly altered or somehow weird in a way, to somehow break the logic of the space that we were in. Most of this material is invisible, but it inspired Andrea to make her next decisions along the way.

Obviously, we see a 12-year-old girl and a grown up man, but it never feels like a mismatch. There’s something about the size and weight of the character that just keeps changing and shifting.

That’s great to hear! Because, I mean, I remember trying on the costumes for the first time, all these beige and brown colours, and this weird military skirt and ugly sandals. And I was like, ‘Oh, my God, they’re really turning me into a terrible pervert, accompanying a little girl! I’m not sure I want to be that kind of Bird…’ It really was a costume that I had never seen before, one that would interrupt the connection to society that we usually create with the references that we are wearing on our body. This costume was so strange in so many ways that it put me in a very alien position on the first day, and I wasn’t sure whether it would turn out to be on the heavy end, or rather on this other end, where the otherness somehow stands for itself.

I was also thinking about the costume and how unlike it is, for example, the ones you wore for Passages which was as much a means of expression as it was an armour. But here, the materials and their weird combinations work to a different effect.

You should also talk to the costume designer, but in general, the references to these textiles were survival, Boy Scout, military, gender-bending, queer, and obviously, wearing a skirt as a man. But also, as you said, combined with some softer textures, like a wool pullover, socks, and the sandals were from an old guy with a camper van. The skirt makes him queer, which is almost the opposite of an old heterosexual man. Then you have these jumpers that make him, I don’t know, like German in a way… I think I felt terrible in that costume at first, but watching the movie, I felt it all made sense.

The post Franz Rogowski: ‘If you talk about birds, you always talk about ethereal energy’ appeared first on Little White Lies.

Scott Adkins, RIP movie

Deadline reports that Scott Adkins (John Wick: Chapter 4) has joined the cast of RIP, Joe Carnahan’s (Narc) upcoming crime thriller for Netflix. The film is set to star Matt Damon (Oppenheimer) and Ben Affleck (The Accountant 2) and follows a “team of Miami cops whose trust begins to fray when they discover millions in cash in a derelict stash house. As outside forces learn about the size of the seizure, everything for the team is called into question — including who they can rely on.

In the movie, Adkins is set to play Affleck’s brother, and looking at the picture above… I can buy it. There’s definitely a resemblance. The rest of the cast includes Catalina Sandino Moreno (From), Néstor Carbonell (Lost), Sasha Calle (The Flash), Teyana Taylor (A Thousand and One), and Kyle Chandler (Lanterns). In addition to directing RIP, Carnahan also wrote the script.

Damon and Affleck used to appear together more often in the ’90s, but it was while co-writing the script for Ridley Scott’s The Last Duel alongside Nicole Holofcener that Damon realized they needed to prioritize working together again. “I remember my wife said to me one day: ‘I haven’t heard you laugh like that in 15 years,’” Damon said. “We came out of that experience going: Why aren’t we doing this more often? And getting into your 50s you just go: If we don’t make it a priority, it’s just not going to happen.

Scott Adkins was recently seen starring alongside Dave Bautista in The Killer’s Game. Based on the novel by Jay Bonansinga, the film follows “veteran assassin Joe Flood (Bautista), who is diagnosed with a life-threatening illness and authorizes a kill on himself to avoid the pain that is destined to follow. After ordering the kill, he finds out that he was misdiagnosed and must then fend off the army of former colleagues trying to kill him.” Adkins plays one of the assassins out to kill him. Unfortunately, our own Tyler Nichols didn’t exactly love the film, calling it a “generic action film that switches gears so many times it doesn’t know what it wants to be.” You can check out the rest of his review right here.

The post RIP: Scott Adkins joins Matt Damon & Ben Affleck in Joe Carnahan crime thriller appeared first on JoBlo.

Nicholas Hoult, The Batman

Nicholas Hoult got very close to playing Bruce Wayne in Matt Reeves’ The Batman but ultimately lost the role to Robert Pattinson. While speaking to Josh Horowitz on the Happy Sad Confused podcast, Hoult said that while Pattinson was the right choice, it was still an “emotional blow” to come so close and not get it.

Yeah, of course, it is an emotional blow because your imagination doesn’t know! You’re aware on a practical level,” Hoult said. “You’re like, ‘I know that I’m auditioning against Rob,’ and Rob’s fantastic in that movie. I think that was the right decision, but also, you get excited about the prospect – Matt’s a fantastic director, and the script and everything I was like, ‘This is going to be a cool movie. I want to be part of it and a brilliant character.’

Hoult continued: “So then there’s obviously a weird period before you can get to the acceptance and see the movie and be like, ‘Oh yeah that works, that was the right choice.’ You have to go through the period of like, ‘Oh what could I have done differently?’ You run through all those things, obviously. Most people day today don’t care about this stuff, but it feels weird then because you’re like, ‘Oh…’ and it’s one thing to have your failures, it’s one another thing to have them publicly broadcast, seemingly to everyone. It adds an element of drama to it, I suppose.

The actor recalled hearing on the radio that Robert Pattinson was going to be the new Batman just a week before his own audition. “I was driving in my car, and I had the radio on, and they were like and they were talking on the radio about how Rob was going to be the new Batman, and I was like, ‘Well, it’s not confirmed yet.’ I was like, ‘I’m auditioning next weekend, give me a chance.’

Hoult was also up for the role of Superman in the upcoming James Gunn movie, but it was decided that he would be a better fit for Lex Luthor. “James Gunn is such a fantastic director and I was so excited by what he was building at DC,” Hoult said. “When we spoke…because they knew I had been through [the Batman] process, they didn’t want me to necessarily have to go through that again. That was very kind of them. There was an element of them being like, ‘We like you as an actor. We want you to be in this world.’Superman is slated to hit theaters on July 11, 2025.

Nicholas Hoult was recently seen starring in Clint Eastwood’s Juror #2, which Warner Bros. has only released in a handful of theaters across the nation.

The post The Batman: Nicholas Hoult says losing the role was an “emotional blow” appeared first on JoBlo.