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Quiz: Why Are These TV Characters Wearing Eyepatches?

4 hours ago

Test your knowledge to see if you remember why these characters have one eye covered. »

- Hanh Nguyen

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‘Power’: When Starz Began Targeting African-American Viewers, It Paid Off With More Ratings and Subscribers

4 hours ago

Power,” which returns for a fourth season this Sunday, continues to be perhaps the most-watched TV series that the industry still isn’t talking about. But they should be.

Last year, the Starz drama was the second-most watched series on premium cable (behind “Game of Thrones”), according to the network’s data – which cumed more than 8 million viewers per episode via multiple platforms.

Credit for the show’s – and Starz’s – success goes to tapping into an African-American audience that has traditionally been underserved by the pay cable networks.

“The secret weapon is targeting audiences that are voracious watchers of television,” CEO Chris Albrecht said, “and would like to have something on there that is targeted toward them and is high quality.”

Read More: ‘Power’ Trailer: Ghost Heads to the Slammer in Season 4 Sneak Peek

Courtney A. Kemp is the creator behind “Power,” which centers on the rich of Manhattan »

- Michael Schneider

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Stephen Colbert May Be Joking on Russian TV That He’s Running for President, But He Should Seriously Consider It

5 hours ago

Stephen Colbert is in Russia at quite an opportune moment. As he tapes segments there for “The Late Show with Stephen Colbert,” breaking news back in the United States continues to confirm that Russia – and, specifically, Vladimir Putin – orchestrated hacking and other interference to impact last year’s presidential election.

That’s why, tongue-in-cheek, Colbert went on the Russian late-night show “Evening Urgant” (hosted by Ivan Urgant) to announce his plan to run for U.S. president in 2020.

Read More: Donald Trump Shakes Up the Emmy Talk Show Race, As Stephen Colbert, Samantha Bee, and Trevor Noah Get In The Game

After taking a few shots of vodka (with a pickle chaser), Colbert said, “I am here to announce that I am considering a run for president in 2020, and I thought it would be better to cut out the middle man and just tell the Russians myself! If anyone would »

- Michael Schneider

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‘Twin Peaks’ Actor Brett Gelman Reveals David Lynch’s Secretive Casting Process

6 hours ago

Brett Gelman had no idea what was going on. He arrived on the set of “Twin Peaks” to play Burns, the supervisor of a casino where a dazed Dale Cooper (Kyle MacLachlan) was winning one jackpot after another. Other than that? Pure mystery. Somehow, the long-lost FBI agent had escaped the interdimensional “Black Lodge” where the show had left him trapped 25 years ago. Gelman’s character was tasked with confronting Cooper about his massive haul. In between takes, Gelman recalled saying to MacLachlan, “I can’t wait to see what this all means.”

“Yeah,” MacLachlan replied, “Me too.”

Lynch’s latest round of episodes with the cult show was surrounded by so much secrecy in the months leading up to its premiere that even the actors were left in the dark. Gelman only found out about his role from his Los Angeles neighbor, Johanna Ray, who happened to be the show’s casting director. »

- Eric Kohn

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‘Glow’ Review: The Series of the Summer is Netflix’s ’80s Wrestling Comedy

7 hours ago

Every year, the cultural decision-makers come together to make one crucial decision for our country: the song of the summer. While the exact choice is debated among various music fans, the de facto musical definer of the season is generally determined by both popularity and perceived staying power. The song reflects what we’ll remember about that summer, generally from an optimistic viewpoint.

Read More: ‘Glow’ Producers Didn’t Want to Cast Alison Brie — Here’s How She Fought to Change Their Minds

While pulling more good vibes than bad ones from 2017 may sound tough, if anything on TV is going to leave people on the ups, it’s “Glow.” Liz Flahive’s new Netflix series is upbeat, enthusiastic, and empowering. Chronicling a start-up group of women’s wrestlers in the ’80s, the 10-episode half-hour comedy is edgy, both in quick bursts and its overall message, but still consistently light enough for fluffy fun. »

- Ben Travers

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12 Essential Titles From Kino Lorber and Zeitgeist Films

7 hours ago


- Graham Winfrey

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The Creepy Emmy Contenders of ‘Stranger Things,’ ‘Legion,’ and ‘Westworld’

7 hours ago

Without “Game of Thrones” in Emmy contention, the VFX race has become wide open, with “Stranger Things,” “Legion,” “Westworld,” “American Gods,” and “Black Mirror” stepping up with creepy characters and supernatural situations.

Highlights include the Demogorgon creature from “Stranger Things,” the exploding kitchen from “Legion,” the final reveal of Dolores (Evan Rachel Wood) and all of her inner workings from “Westworld,” the incredible sex scene from “American Gods” with Bilquis, the Queen of Sheeba (Yetide Badaki), and the disgusting spider with a human head from the “Playtest” episode of “Black Mirror.”

Meet the Demogorgon from “Stranger Things

The cool thing about the Demogorgon from “Stranger Things” (directed by the Duffer Brothers) is it fits so well with the ’80s low-tech vibe. As the boogeyman from the Upside Down (named from “Dungeons & Dragons”), the creature represents a wonderful hybrid of practical and CG.

Aaron Sims Creative did the design, and the »

- Bill Desowitz

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‘Transformers: The Last Knight’ Makes Even Less Sense if You’ve Never Seen a ‘Transformers’ Movie Before

7 hours ago

Where is Shia? Why is Stanley Tucci playing Merlin? Is that a robot butler voiced by Mr. Carson from “Downton Abbey”?

These are just some of the questions that come to mind while watching “Transformers: The Last Knight,” the fifth entry in Michael Bay’s billion-dollar franchise based on a line of toys, and the first one I’ve seen. These thoughts occur to me half-formed, which is fitting since that’s also how the plot seems to have been dreamed up by the film’s three credited screenwriters.

Read More: ‘Transformers: The Last Knight’ Review: Here’s the Most Ridiculous Hollywood Movie of the Year

Beginning in the very specific time and place “England — the Dark Ages,” the film seems eager to capitalize on the current medieval trend most recently exploited to great success by the King Arthur movie that nobody saw. What’s past is prologue, and so »

- Michael Nordine

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Edgar Wright on Leaving ‘Ant-Man’: ‘I Don’t Think They Really Wanted to Make an Edgar Wright Movie’

7 hours ago

As you’re likely aware by now, Edgar Wright did not direct 2015’s “Ant-Man.”

Though originally attached to the superhero drama, the “Shaun of the Dead” helmer left it over creative differences, prompting Peyton Reed take over. In an appearance on Variety’s Playback Podcast occasioned by the imminent release of “Baby Driver,” Wright goes into detail on why he left the Marvel project: “I think the most diplomatic answer is I wanted to make a Marvel movie but I don’t think they really wanted to make an Edgar Wright movie.”

Read More: Edgar Wright’s 40 Favorite Movies Ever Made (Right Now): ‘Boogie Nights,’ ‘Suspiria’ and More

“It was a really heartbreaking decision to have to walk away after having worked on it for so long, because me and Joe Cornish in some form — it’s funny some people say, ‘Oh they’ve been working on it for »

- Michael Nordine

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‘The Incredible Jessica James’ Trailer: Jessica Williams Dances Her Way Through Netflix’s Rom-Com — Watch

8 hours ago

Netflix has released the teaser trailer for “The Incredible Jessica James,” a romantic comedy that seems to have delighted nearly everyone who saw it at Sundance this year. The film is being touted as a breakout for former “Daily Show” correspondent Jessica Williams, who plays the title character. Watch the teaser below.

Read More: ‘The Incredible Jessica James’ Review: Jessica Williams Makes a Bid For Movie Stardom — Sundance 2017

Williams can be seen on a boring date as well as at her job in the service industry, but mostly she dances — in stairwells, on rooftops and occasionally even in nightclubs. “I’m pretty, I’m smart, I am Coco Queen,” she announces to a party guest who doesn’t seem all that interested.

Read More: Netflix Acquires ‘The Incredible Jessica James’ — Sundance 2017

Chris O’Dowd, Noël Wells, Lakeith Stanfield, Megan Ketch and Zabryna Guevara co-star in the film, which was directed »

- Michael Nordine

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SXSW Winner ‘Most Beautiful Island’ Is an ‘Eyes Wide Shut’ Style Debut Coming to Theaters This Fall

8 hours ago

Keep up with the wild and wooly world of indie film acquisitions with our weekly Rundown of everything that’s been picked up around the globe. Check out last week’s Rundown here.

Spanish actress and triple threat Ana Asensio wrote, directed and starred in her feature film debut “Most Beautiful Island,” which won South by Southwest’s grand jury award for narrative feature, and audiences will finally be able to see the thriller, billed as being in the vein of “Eyes Wide Shut” about immigrant life in America, when Orion Pictures and Samuel Goldwyn Film release the movie this fall.

Co-starring Natasha Romanova, David Little, Nicholas Tucci, Larry Fessenden and Caprice Benedetti and produced by Fessenden’s Glass Eye Pix, “Most Beautiful Island” had its New York premiere at this week’s BAMcinemaFest. The film is a psychological thriller set in the world of undocumented female immigrants hoping to make a life in New York City.

Read More: ‘Most Beautiful Island’ Review: Ana Asensio’s SXSW Winner Is a Spellbinding Thriller About Immigrant Life In AmericaShot on Super 16mm with a voyeuristic sensibility, the movie chronicles one harrowing day in the life of Luciana, a young immigrant woman struggling to make ends meet while striving to escape her past. As her day unfolds, she is whisked through a series of troublesome and unforeseeable extremes. Before the day is over, she finds herself a central participant in a cruel game where lives are placed at risk for the perverse entertainment of a privileged few.

“[Ana Asensio]is fearless in front of and behind the camera,” Peter Goldwyn, president of Samuel Goldwyn Films, said in a statement. “’Most Beautiful Island’ is a memorable film which captured hearts, minds, and the Grand Jury Prize at SXSW.”

Check out the rest of our weekly Acquisitions Rundown after the break.

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- Graham Winfrey

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‘Dracula’: 7 Things A Series About the World’s Most Famous Vampire Should Have

8 hours ago

It was recently announced that Mark Gatiss and Steven Moffat, the creators behind the hit BBC series “Sherlock,” have signed on to write a new TV adaptation of Bram Stoker’s “Dracula.” Fan reactions have been mixed — some remaining hopeful that Gatiss and Moffat will pull the age-old story off, while others have expressed their lack of faith in the writing pair’s ability to keep the integrity of the story and its characters.

Read More: ‘Sherlock’ Review: ‘The Final Problem’ Proves to Be A Problematic Season Finale

While maybe a bit harsh, these concerns aren’t unjustified — Dracula-centered television shows are notoriously short-lived, and while there are a multitude of shows centered around the supernatural, there aren’t that many dedicated to the main vamp himself. NBC took a stab at it in 2013 with “Dracula,” a British-American horror drama that introduces Dracula as he arrives in London and poses as an entrepreneur who wants to bring modern science to Victorian society (when in reality, he’s arrived to wreak revenge on the people who ruined his life centuries earlier). Though promising, the series only lasted one season.  

Dracula was first introduced in Bram Stoker’s Gothic horror novel “Dracula.” The story reads as a series of letters, diary entries, news articles, and ships’ log entries that document the activity and evidence of a Transylvanian vampire in England; filled with mystery, blood sucking, and plenty of garlic, it’s one of the novels that helped kick-start the future surplus of vampire dramas, horrors, and romances that we see today.

One of the reasons that “Dracula”-based shows may not be inherently successful is that the shows don’t seem to capture the essence of who Dracula really is. So we’ve put together a few suggestions for the future series, most of which involve getting back to basics.

1. Fangs

The classic “Dracula” story included terrifying fangs, ones that Dracula showed off well. But in the midst of all of the modern reboots of “Dracula,” many writers/directors decided that subtlety was more important than authenticity. If we’re looking for ways to incorporate Dracula’s fangs into 21st Century fashion, just think of them as a statement piece.

2. The Era

While all of the modern adaptations of “Dracula” and vampires in general have been interesting, it’s time to get back to its roots. The story of “Dracula” originally took place in the 1890s in England, so the new “Dracula” series should do the same. It would be a breath of fresh air after all of the recent modern retellings. Plus, who doesn’t love a good slick back and a cape? No one, that’s who.

3. Tell the Original Story

While a lot of vampire stories have spawned from the original “Dracula,” there haven’t been nearly as many that actually tell Dracula’s story. Bring back characters like Jonathan Harker and Van Helsing! They don’t have to share the spotlight with Dracula, but they’re relatively new characters to the younger generation, and they would help inspire interesting plot points for the new show (something the previous “Dracula” series lacked).

4. Bring Back the Blood — Real Blood

While the premise of “vegetarian” vampires is intriguing, the new “Dracula” series would be better off just sticking to the classic “lust for human blood” angle. It’s what makes the character and story so morally conflicted — the fact that you know it’s wrong to murder but also understand that Dracula is a creature of the undead and has to prey on humans for sustenance. It also makes things more tense, and that makes for interesting content.

5. Make Dracula a Bit Ruthless

Rumor has it that Dracula was based off of Vlad III, Prince of Wallachia, better known as Vlad the Impaler. It’s said that Vlad Dracula (meaning son of the dragon, or son of the devil) would dip chunks of bread into buckets of blood drained from the people he killed, usually after he invited them to a feast and then immediately impaled them at the dinner table (he always finished his dinner afterwards, bodies and all, in case you were wondering). So it would be nice if that same sense of ruthlessness could be brought to the new adaptation of “Dracula.” There’s no rule that states you can’t be suave and merciless (just ask Klaus Mikaelson of “The Vampire Diaries” and “The Originals”).

6. Give Him a Sense of Humor

Speaking of “The Originals,” let’s bring in some of that dark humor and wit that makes characters like Klaus Mikaelson a baddie that we love to hate (but just can’t). That same natural charisma and use of offhanded sardonic remarks should be applied to our newest Dracula, because that’s what the audience connects to. It’s also what keeps people coming back for more, everyone needs a tension breaker once in awhile.

7. Mdha: Make Dracula Hungarian Again!

That is to say, Dracula should not be British, considering Dracula relocated from Transylvania to England and his accent most certainly should have relocated with him. In Bram Stoker’s novel “Dracula,” the Count is described as being Hungarian, and even serves Jonathan Harker a bottle of Tokaji (Hungarian sweet wine) on his first night in the castle. For the sake of authenticity, let’s make Dracula Hungarian again (because he never should have stopped).

Related storiesHow Editing 'The Walking Dead' Helped the 'Midnighters' Director Make His First Horror Film'Alien' Movies, Ranked From Worst To BestThe 20 Best British Horror Films of All Time »

- Gabrielle Kiss

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How Editing ‘The Walking Dead’ Helped the ‘Midnighters’ Director Make His First Horror Film

9 hours ago

Julius Ramsay has made his living editing a number of the better genre television shows of the last couple decades, including “Battlestar Galactica,” “Alias,” and now “The Walking Dead.” With an eye toward making his own films, in 2008 he directed a 20-minute short, “Pivot,” that achieved some success on the film festival circuit.

Read More: The 20 Best Horror Movies Of The 21st Century, From ’28 Days Later’ to ‘Get Out

“When I joined ‘The Walking Dead’ in season one as an editor, I expressed an interest in directing,” said Ramsay. “I showed the producers and the network my film, and after working on the show for a few years, I was fortunate enough to earn their trust and get a chance to direct my first episode.”

Ramsay believes editing is a good training ground for directors, forcing you to find the essence of a story and distill it into a series of shots, sounds, and impressions.

“Being able to edit a scene in my mind has made me a more effective director, and better able to communicate my vision to collaborators on a film,” said Ramsay.

There were also some more specific lessons he took from the hit AMC show when it came time to make his first horror feature, “Midnighters,” which premiered at the Los Angeles Film Festival this week.

“‘The Walking Dead’ has a deliberate, measured pace that’s a large part of what makes its tone so effective,” said Ramsay. “I think of it as the heartbeat of the series, and it’s most often set in the editing room. It determines everything about how an audience experiences a film. When directing and editing ‘Midnighters,’ I knew that I similarly had to find the film’s heartbeat and set it to the right rhythm.”

Getting a few “Walking Dead” directing credits under his belt also gave “Midnighters” some credibility and a track record when it came time to fundraising. The show also gave him a cast member, Andrew Rothenberg, who played Jim in season one. But while his TV experience helped make him a better filmmaker and get the project off the ground, Ramsay said the parallels between shooting a massive TV show and an indie film are few and far between.

“On a major TV series, there’s a massive infrastructure in place to deal with nearly every contingency you could imagine,” said Ramsay. “This is particularly true on ‘The Walking Dead,’ which has an insane number of moving parts, and is produced by a brilliant group of producers in Georgia and Los Angeles. On ‘Midnighters,’ we had limited resources and money, so our infrastructure was much smaller. Hence, when something went wrong, we had to improvise.”

For example, one morning the lead makeup artist on “Midnighters” went to the emergency room with a stomach virus. Ramsay scrambled to find a backup, since what they were shooting that day called for star Alex Essoe to have a wound on her forehead.

Read More: The 20 Best-Directed TV Drama Series of the 21st Century, Ranked

“We found a replacement who could arrive that afternoon, but that meant we’d lose hours of filming,” said Ramsay. “When she heard about the problem, Alex Essoe said that she actually knew how to apply prosthetic wounds from her experience on another film. We gathered the materials and she did it herself – 30 minutes later, we were filming.”

There are benefits to an indie Diy mentality, as it’s not always about powering through the limitations.  Sometimes those limitations can lead to ingenuity and better use of the medium itself.

Read More: How a Chance Encounter With Terrence Malick Turned Trey Edward Shults Into a Filmmaker

“On an indie, you can’t rely on big budget special effects or monsters to scare the audience – you have to milk the horror of the human experience for all it’s worth,” said Ramsay. “I think fewer resources force a director to put a lot more emphasis on the horror of the unknown, and in the end that’s more frightening than anything else.”

Midnighters” premiered at the 2017 Los Angeles Film Festival.

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- Chris O'Falt

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How ‘Poison’ Distributor Zeitgeist Films Found a Lifeline in Kino Lorber

9 hours ago

Zeitgeist Films and Kino Lorber have always been kindred spirits, but as of this week, the indie distributors are officially strategic partners, a business relationship that has been in works for the past six months. Richard Lorber’s arthouse distribution company has formed a multi-year alliance with Nancy Gerstman and Emily Russo’s Zeitgeist that will see the two companies co-acquire four to five theatrical titles per year that will be marketed and released by Zeitgeist Films, starting with the 2017 Tribeca Film Festival audience award-winner “The Divine Order.” Directed by Petra Volpe, the film tells the story of a young housewife in Switzerland in 1971 who stands up to the closed-minded villagers in her town and overthrows the status quo.

Read More: Beyond A24: How Hip New Distributors Are Targeting Millennial Tastemakers With Bold Films

“We were at Tribeca and covered every film that we could get our eyes on, but we totally missed ‘The Divine Order’ for some reason,” Lorber said. “Nancy and Emily said it was great, we committed to doing it, and two days later it won the audience prize at Tribeca.”

Founded in 1988, Zeitgeist film’s is known for having distributed early films by directors including Todd Hayes (“Poison”), Christopher Nolan (“Following”), Laura Poitras (“The Oath”) and Atom Egoyan (“Speaking Parts”), but has struggled in recent years to adapt to the changing landscape for indie distributors.

“There’s no denying the fact that the business has gotten tougher, and I think over the years Zeitgeist has maintained an almost artisanal approach, which has not always kept pace with some of the other opportunities that have been available, such as the expansion of digital and alternative venues that films can play in,” Lorber said. Going forward, Kino Lorber will become the exclusive distributor of all Zeitgeist films for the home video, educational, and digital media markets, adding Zeitgeist’s roughly 130-film library to its collection of 1,600 titles.

“Once home video sort of ended as a possibility for us, we really had to go into the digital realm, and dealing with five or six films a year, it’s difficult to really bulk up your digital [catalog] to be able to do the sort of deals that Kino Lorber is able to do,” Gerstman said. “It’s been very tough, so these are really great resources for us to be able to have.

Read More: Hybrid Distribution: One-Night-Only Screenings Could Make Your Documentary a Theatrical Hit

Kino Lorber will release two of Zeitgeist’s 2016 films, the biographical documentary “Eva Hesse” and “Vita Activa: The Spirit of Hannah Arendt.” Zeitgeist’s 2001 film “Nowhere in Africa” won the Academy Award for best foreign language film, taking more than $6 million at the U.S. box office. Some of the company’s most successful theatrical releases include “Bill Cunningham: New York,” “The Corporation” and “Aimee & Jaguar.”

Stay on top of the latest in gear and filmmaking news! Sign up for the Indiewire Toolkit newsletter here.

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- Graham Winfrey

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Ana Lily Amirpour Responds to Racism Charges — But Won’t Apologize For Making You Uncomfortable

9 hours ago

Ana Lily Amirpour seems like the ultimate counterpunch to Hollywood’s diversity problem. She’s an Iranian woman director raised in America, directing inventive genre movies with an anarchic sensibility all her own. While much of the country celebrated the feminist leanings of “Wonder Woman,” Amirpour had already finished “The Bad Batch,” her horror-sci-fi-western hybrid about a dystopian world in which a young woman battles cannibals in a desolate wasteland. The movie, which premiered at the festivals last fall, confirmed Amirpour’s capacity for exploring marginalized figures through the empowering lens of ferocious female characters first seen in her acclaimed debut, “A Girl Walks Home Alone at Night.”

Which was why, eight months into her promotional tour for “The Bad Batch,” Amirpour was astonished to find herself accused of racism. During a post-screening Q&A for “The Bad Batch” in Chicago, Amirpour was confronted by a woman named Bianca Xiunse, »

- Eric Kohn

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Rian Johnson and Ana Lily Amirpour Talk ‘Star Wars,’ ‘The Bad Batch’ and Cinematic Boners — Listen

10 hours ago

If you ever wanted to listen to the directors of “A Girl Walks Home Alone at Night” and “Looper” talk about cinematic boners, today’s your lucky day. Ana Lily Amirpour and Rian Johnson discuss all that and more — namely, their upcoming films “The Bad Batch” and “Star Wars: The Last Jedi,” respectively — on the latest episode of the Talkhouse Film Podcast. Amirpour gets quotable early on when she goes in depth about being excited for a project: “I’ll just be like, ‘I’ve got no boner,’ or like, ‘My boner is at half mast — something is wrong, this lens is wrong…’ And you’ve got to listen to the boner.”

Read More: ‘The Bad Batch’ Review: Jim Carrey and Keanu Reeves’ Thriller Is ‘Mad Max’ Meets ‘Texas Chainsaw Massacre’

That isn’t the only filmmaking metaphor she uses; “The Shawshank Redemption” comes into play as well: “I always say that making a film to me is like ‘The Shawshank Redemption.’ It’s like I’m Andy Dufresne, and thinking of the story and shooting is like coming up with plan and digging that tunnel, and it takes a lot of physical [effort] — you do it and get through it, and everything,” she continues.

“And then editing, to me, is crawling through that fucking tunnel. And you know that if it’s all as you [planned] … you’ll come out above ground and it will be raining and you’re eventually going to make it to Zihuatanejo.”

Read More: ‘The Bad Batch’ Trailer: Ana Lily Amirpour Dares Us to Find Comfort in the Wasteland

Johnson, meanwhile, invokes a far better movie when talking about his writing process for “The Last Jedi.” “What I did — because I was so petrified of pulling a ‘Barton Fink’ on this — I moved up to San Francisco and a couple times a week I would go in and just vomit out all the stuff I was working on, and we would just talk about it,” he says. “That just made me feel less alone, I guess.” Listen to the full episode below.

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- Michael Nordine

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Han Solo Firing Proves Studios’ Franchises Don’t Want Directors To Be Storytellers

10 hours ago

Oh, the irony: As TV creators seek inventive ways to adapt the visual language of cinema, Hollywood’s big-budget, big-screen movies are increasingly becoming more like television.

With serialized TV shows, control needs to be in the hands of writers and showrunners. That’s because the story is still unfolding and the production is built from episode to episode. The director can’t be the principal storyteller, which makes it challenging to put a premium on visual storytelling.

Read More: The ‘Mr. Robot’ Experiment: Can a TV Show Be Shot Like an Indie Film?

Those who run the Marvel Cinematic Universe might sympathize. When it launched in 2008, their choices of directors seemed like head scratchers for a big action film. In retrospect, they make perfect sense.

Swingers” writer and “Elf” director Jon Favreau was the perfect choice to improv with Robert Downey Jr. (remember, he wasn’t a star then »

- Chris O'Falt

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Here Are The 555 Times Michael Bay Has Used Product Placement — Watch

11 hours ago

You’re going to need to sit down for this one.

The supercut geniuses over at ScreenCrush have debuted their latest compilation, “Every Single Product Placement in the Films of Michael Bay,” and it’s 11 minutes of non-stop Bayhem that proves this madman never met an action scene, dialogue scene or establishing shot he couldn’t cram product placement into.

Read More: ‘Transformers: The Last Knight’ Review: Here’s the Most Ridiculous Hollywood Movie of the Year

The video arrives on the opening weekend of Bay’s latest CGI extravaganza, “Transformers: The Last Knight.” Critics have already hailed the film as the most ridiculous movie of the year, and because this latest outing is not included in the video below, it’s safe to say the product placement total has most likely skyrocketed above 600.

For now, you can watch all 555 instances of Michael Bay product placement in the video below. »

- Zack Sharf

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‘Dunkirk’: 9 Things You Need to Know About Christopher Nolan’s WWII Blockbuster

11 hours ago

Christopher Nolan is set to return to theaters July 21 with his highly anticipated WWII blockbuster “Dunkirk,” and anticipation is reaching a fever pitch with under a month to go. The movie, which recounts the Dunkirk evacuation, stars Tom Hardy, Fionn Whitehead, Cillian Murphy and Kenneth Branagh, among others.

Read More: ‘Dunkirk’: Christopher Nolan Explains Why the WWII Story Is in His ‘DNA’ 

Nolan is a filmmaker well known for his secrecy regarding new projects, and while we still don’t know a lot about “Dunkirk,” the director has teased the movie a bunch in interviews over the last several months.

IndieWire has rounded up all the most important, need-to-know facts about “Dunkirk” below. Make sure you know these 9 things before buying your ticket to Nolan’s latest summer blockbuster.

1. It’s the Shortest Feature Nolan Has Made Since His Debut

Warner Brothers has confirmed that “Dunkirk” will only run one hour and 47 minutes, including end credits, making the WWII epic the shortest movie of Nolan’s career since his feature debut, “The Following” (one hour and nine minutes). Only two other Nolan movies have run under two hours: “Memento” (one hour and 53 minutes) and “Insomnia” (one hour and 58 minutes).

All of the director’s big Hollywood blockbusters have clocked in over the 120 minute mark. His last outing, the space odyssey “Interstellar,” was his longest movie ever at two hours and 49 minutes. Each film in “The Dark Knight” trilogy ran over two hours and 20 minutes, while “Inception” clocked in at two hours and 28 minutes.

Length has never been an issue when it comes to Nolan and the box office, though the shorter “Dunkirk” runtime suggests a much tighter narrative, despite what could be a very sprawling setting.

2. It’s Set During World War II But It’s Not A War Film

Despite the movie’s WWII setting — the Dunkirk evacuation took place during the Battle of France — Nolan has gone on record multiple times declaring that “Dunkirk” is not a war film, but rather a suspense movie.

“It’s a survival story and first and foremost a suspense film,” Nolan told the Associated Press earlier this year. “While there is a high level of intensity to it, it does not necessarily concern itself with the bloody aspects of combat, which have been so well done in so many films. We were really trying to take a different approach and achieve intensity in a different way.”

The film has received a PG-13 rating from the MPAA, which threw a curveball to some fans hoping a Nolan war film would be earn an R rating. Nolan’s focus on suspense over bloodshed is no doubt the reason why.

Read More: Christopher Nolan Explains Why ‘Dunkirk’ is Rated PG-13: ‘It Is Not a War Film’

3. The Film Tells Three Different Stories Simultaneously (Even Though They All Take Place At Different Times)

It wouldn’t be a Christopher Nolan movie without an ambitious leap of storytelling, so here is where things get very, very Nolan. When the director announced he was making a WWII feature, most fans were left wondering what Nolan was going to bring to the war genre, and he teased his narrative risk with Premiere magazine back in February.

“The film is told from three points of view: The air (planes), the land (on the beach) and the sea (the evacuation by the navy),” he said. “For the soldiers embarked in the conflict, the events took place on different temporalities. On land, some stayed one week stuck on the beach. On the water, the events lasted a maximum day; And if you were flying to Dunkirk, the British spitfires would carry an hour of fuel.”

What Nolan is essentially telling us is that the story threads of “Dunkirk” don’t all match up on the same time frame. So how exactly is he planning to tell three different stories that take place over different durations of time?

“To mingle these different versions of history, one had to mix the temporal strata,” Nolan said. “Hence the complicated structure; Even if the story, once again, is very simple.”

Expect a lot of the success of “Dunkirk” to be riding on just how exactly Nolan cracked the time challenges facing the narrative.

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- Zack Sharf

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‘The Handmaid’s Tale’: 40 Photos That Capture the Show’s Unique Cinematography

12 hours ago

“The Handmaid’s Tale” presented a unique production challenge for cinematographer Colin Watkinson and Reed Morano, an executive producer and director of the first three episodes. The show takes place in a near-future Gilead, where enslaved women forced to reproduce for the aristocracy wear costumes that reference a puritanical time — but the show isn’t a period piece. They needed to create a world that was “other” and could serve as sharp contrast to present-day flashbacks. To read more about how they created the show’s unique look, click here.

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- Chris O'Falt

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