#indiewir

[morallyinept]

NEW Pedro arriving at Golden Globes via Indiewire 🖤

#pedro pascal #golden globes #indiewire

[serious-goose]

"ofmd s2 sucks because it's fan service" reviewer do you also go to mcdonalds and complain when they serve you a big mac? its a silly queer pirate show. it does what it says on the tin

#“oh noo this romantic comedy has romantic comedy elements what a disappointment” #that one indiewire review irks me so much lol #ofmd #our flag means death

[notesonartistry]

“I think the biggest misconception is that there’s a giant machine behind her, or like a big factory or massive team of people,” Wilson told IndieWire at the 2020 Sundance Studio. “What I was so struck by is that she’s the sole creative force behind everything in a way that I found incredibly inspiring.”

Lana Wilson on Taylor

#i think i might have posted this #or something similar before #but i still love it #ms 'small family business' #wasn't lying! #lana wilson #indiewire

[onlydylanobrien]

Dylan O'Brien at the IndieWire studio at the Sundance Film Festival in Park City, Utah. (January 20, 2024)

🎥©: vincentperella's Instagram Story

#dylan o'brien #sundance film festival 2024 #sundance indiewire studio 2024

[brian-in-finance]

Image: Punch Drunk Critics

IndieWire

Deadline

Yahoo! Movies

Remember when we learned about the longer wait for The Amateur?

#Tait rhymes with hat #Good times #The Amateur #Release Update #Now 11 April 2025 #IndieWire #Deadline #Yahoo! Movies #5 April 2024 #Thanks thetruthwilloutsworld

[pedropascal24-7]

#pedro pascal #walton goggins #elizabeth reaser #the uninvited #lois smith #sxsw #indiewire

[lesbiancolumbo]

sorry but this is sending me

#from paul of all people #idk why they’re reporting on this now when he said this in like july but like ok. #omg this article is from JULY 2018 INDIEWIRE WTF LMAO

[sarahshachat]

I haven't done any posting on social media almost all year and so the fact that I went and hunted down my Tumblr login should tell you just how THRILLED and GRATEFUL I was to cover the making of Dimension 20 for work. All it took was explaining to The Bosses™ that Actual Plays are not things where viewers... actually play... that was a new one. 😅

Anyway, please go read about how Rick Perry is a genius and the D20 team collaborate in ways that uplift the art they all make. Aabria Iyengar said so. It must be true.

#d20 #dimension 20 #rick perry #michael schaubach #aabria iyengar #indiewire #i did a journalism! #i want to come for you too candela obscura #please put a press contact on *someone*'s IMDBPro #the legendary rick perry #burrow's end

[pinktwingirl]

Wait I thought Loki season 2 is getting good reviews everywhere, could you cite some examples?

I really can’t stand what they did with Loki in season 1 and it still feels the same..

Here are a couple of examples that I found. Basically, the general complaints are that the show isn’t focused around Loki, it’s filled with way too much exposition about the multiverse and timelines, and Loki is boring and completely unrecognizable from his previous appearances… which, again… did y’all watch S1??? This isn’t new. Also a decent number of reviewers are clowning on the show for basically becoming a McDonald’s commercial (and rightfully so)

#loki #loki series #loki series negativity #loki season 2 #marvel #mcu #disney plus #mcu criticism #the independent #mashable #ign #indiewire #giant freakin robot #loki series review #review

[jocia92]

The inside story of how an American animation company laid it all on the line to make the English-language version of Hayao Miyazaki's "last" film a devastatingly beautiful must-see event.

This article is a really fascinating look into the process of dubbing 'The Boy and the Heron'. I really recommend reading the whole thing.

Dan Stevens mentions:

“Earwig and the Witch” alum Dan Stevens is such a devoted Ghibli fan that he agreed to come back and deliver a few lines as one of the many different henchbirds that do the bidding of Dave Bautista’s Parakeet King (“It’s very cool to get a sneak preview of a new Miyazaki movie,” he told me, “and to be in the mix for what might potentially be the last one is just epic”).

...

Fukuhara didn’t have any frame of reference for what the rest of the dub would sound like when she stepped into the booth (when she and Stevens spoke to IndieWire over Zoom for this article, it was the first time the two of them had ever met)

... there’s a fable-like quality to “The Boy and the Heron” that serves the moral dimension of Miyazaki’s latest and possibly final film. It speaks to the timelessness of a story designed — in the most explicit terms — to outlive its author. A story designed to be transformed by the people who tell it, even though its essence is singular in a way that no one would ever be able to erase altogether. It’s the story at the heart of a movie that will stand as a monumental achievement for as long as we can imagine, even as the world continues to turn its back on beautiful things, and the infrastructure that allows for their creation continues to crumble. “The Boy and the Heron” tells us to build our own tower, and GKIDS, with its bold and deeply personal English dub, has done just that.

#the boy and the heron #studio ghibli #hayao miyazaki #indiewire #dan stevens #karen fukuhara #robert pattinson #voicework #animation #article #it's funny for karen and dan to meet for the first time now #after being in kipo and the age of wonderbeasts together #the nature of voicework

[fshmgtn]

#red white and royal blue #indiewire #firstprince #rwrb movie #prince henry of wales #alex and henry #rwrb #alex claremont diaz #henry fox mountchristen windsor #taylor zakhar perez #nicholas galitzine #alexander gabriel claremont diaz #henry and alex #alex x henry #lgbtq #prime video

[stanweirdosalliance]

More Sundance pics of Jason

#indiewire #sundance #2024 #jason schwartzman #short king

[eddie-redmayne-italian-blog]

Eddie Redmayne Lives a ‘Monastic’ Life for Broadway’s ‘Cabaret’: Lay’s Chips for Lozenges and ‘the Most Painful Massage’

Redmayne tells IndieWire about life behind the scenes of "Cabaret at the Kit Kat Club," where he reprises his West End role as The Emcee for Broadway.

BY RYAN LATTANZIO

APRIL 23, 2024 3:30 PM

Life’s not all a cabaret for film actors making their way to Broadway.

In the case of Eddie Redmayne, who now stars as the ghoul-like and flamboyant Emcee in director Rebecca Frecknall’s “Cabaret at the Kit Kat Club” at New York’s August Wilson Theatre, life behind the scenes is more “monastic,” as he told IndieWire, than song-and-dance bacchanalia.

“When you’re doing a musical like this, it’s quite monastic living, and it’s almost more like being an athlete than an actor sometimes because when you’re doing eight shows a week, you’re keeping your voice in decent nick,” said Redmayne, Zooming from the backseat of a car between appointments, which just included lunch with Joel Grey, who famously starred as the Master of Ceremonies in Bob Fosse‘s Oscar-winning 1972 film.

“It’s quite a physical role,” said Redmayne, who first played The Emcee on the West End in 2022, earning a Laurence Olivier Award for Best Actor in a Musical. In this just-opened Broadway version, Redmayne sings and dances in gender-bending garb, impishly contorting himself on a 360-degree stage opposite Gayle Rankin as alcoholic cabaret ingénue Sally Bowles.

“I wish I could say I was out living a hedonistic Broadway existence, but actually, you are drinking a ton of water,” Redmayne said. “I haven’t got a huge amount of experience in musicals. I listen to all of our musical theater actors in the piece who give me tips on which voice lozenges to use, and apparently, Lay’s chips, like the oil and the salt in that, [are] very good for keeping your voice moist, and these random Chinese medicines that are good. So I take any piece of advice I can to try and keep me upright basically.”

Redmayne made his Broadway debut with the play “Red” opposite Alfred Molina, earning a Tony Award for Best Featured Actor in a Play in 2010. But Redmayne’s musical acumen is limited to the movie “Les Misérables” (he openly despises his own musical performance in the film) and now “Cabaret.” He displays considerable pipes in this splashy stage show, singing lyrics by Fred Ebb and music by John Kander from the 1960s musical.

You’re rehearsing from 9 o’clock in the morning to 6 in the evening, and you’re doing these numbers over and over again. Your voice is a muscle, so it’s about getting to the point where it’s able to sustain,” Redmayne said. “There is a lot of not just singing, but there are quite vocal introductions. You’re having to roll out a lot, using those foam rollers. I go to this brilliant man called Greg Miele, who is a bodyworker, on my day off. I go to get a massage, and [my wife] is like, ‘Lucky you.’ And I go, ‘No, but it’s the most painful massage you have ever experienced.'”

Redmayne’s turn as The Emcee — is he a figment of the Weimer-Era Berlin imagination? a manifestation of Nazi terror taking over? a real person at all? — is intensely physical and loose-limbed. Prior to the fall 2022 West End debut of “Cabaret,” now transferred to Broadway in an even more audience-immersing format, Redmayne took a movement course at the École Internationale de Theatre Jacques Lecoq to understand his character’s body language.

It’s housed in this old 19th-century gymnasium. It was a course on Theater of the Absurd, and it was for professional practitioners,” Redmayne said. “There were people from all over the world, aged 17, 18, to 60, and we did lots of mask work, and there were some brilliant teachers there who were incredibly blunt. You made a fool of yourself and put in your place, and yet you’re also liberated to rip off all the excess, particularly perhaps having worked in film for a while, that had built up in me.”

As for that lunch with Joel Grey, Redmayne said he indeed has the original Master of Ceremonies’ stamp of approval. “When I first did the show in London, it was our opening night, and I was halfway through, it was at the interval, and there was this extraordinary bunch of flowers, and I opened the card and Joel had sent me flowers welcoming me to The Emcee family, and he has been so generous,” he said. “He came to see the show with John Kander the other night. I’m not going to lie, I was utterly terrified and intimidated, but they could not have been more generous and kind.”

Cabaret at the Kit Kat Club” is now on Broadway. Stay tuned for more in conversation with Eddie Redmayne on IndieWire soon.

#eddie redmayne #eddie redmayne cabaret #cabaret new production #cabaret nyc #indiewire #interview #article #the emcee #broadway #august wilson #theatre #cabaret #best actor #obe #talent

[notesonartistry]

"There’s something Swiftian in everything she creates, even when she is not explicitly discussing herself. Her works reflect emotional honesty, specificity, and a desire to be seen. Obviously people care deeply about seeing her, but she knows how to channel that energy into creating a compelling story."

Erin Strecker, Indiewire on Taylor's directing/creativity

#indiewire #director swift

[onlydylanobrien]

Dylan O'Brien, director Esteban Arango, Victoria Pedretti, River Gallo, Annie Henk and Indya Moore at the IndieWire Sundance Studio, Presented by Dropbox in Park City, Utah. (January 20, 2024)

#dylan o'brien #sundance film festival 2024 #sundance indiewire studio 2024 #ponyboi cast #victoria pedretti #river gallo #indya moore

[natlacentral]

Netflix’s Diversity Program Turned This Director Into a Top Showrunner in Just 4 Years

Jabbar Raisani had hit a wall. He had done second unit directing on “Game of Thrones,” he was a seasoned visual effects artist and two-time Emmy winner for “Thrones,” and he even directed his first indie feature. But he couldn’t get that next job and make the jump to what he really wanted to be: an episodic TV director. 

“I was really looking for any avenues that I could to help to expand my network and to increase my opportunities and chances of actually booking an episode,” Raisani told IndieWire. “I was getting lots of meetings, but not a lot of opportunities.”

So as a South Asian filmmaker from San Antonio, Raisani turned to some of the many diversity incubator programs set up across Hollywood to set himself apart from the many white dude directors flooding the space. He had participated with programs led by NBC, Sony, what was then Viacom, and the Directors Guild of America. But he “still was running into the same barrier.”

“I had a really good reel, I had a lot of heavy visual effects experience, but I didn’t have an episode under my belt,” he said. “If you can’t check that box as you’re going down the list of things you’ve done, it makes your opportunities of getting a full episode of directing much, much more difficult.” 

It wasn’t until he signed up for Netflix‘s inaugural Series Director Development Program that something changed. He got his first directing gig on “Lost in Space,” and he did VFX work on the latest season of “Stranger Things.” Now just four years removed from being selected in that program’s first cohort, he’s not just a working director but was last month named the co-showrunner on one of Netflix’s flagship new series, “The Last Airbender.”

There’s no shortage of DEI initiatives around town, the ones studios love to brag about in flashy press releases to show they’re making a difference in the industry, even if the numbers still say otherwise. But Raisani’s journey is a rare success story, and he has reached a higher level in the industry in a shorter time than even some of the other directors in his same cohort. 

“He always looked at ways to bring out the best from the other people he was working with,” said former DGA president Paris Barclay, who was Raisani’s instructor for the Netflix diversity program. “You saw he was open, and one of the things we really tried to teach in the Netflix class is directing isn’t just about calling the shots and having a megaphone and being the director. It’s about engaging other creative people to help you tell the story. He was a master of that already in a very calm, very unassuming way. You just want to work with him.”

But even if Raisani had all the attributes, he had heard from a top producer why he still wasn’t reaching that next level.

“She said, look, here’s the way this goes: You have a great meeting with me and I love you in the room and I believe in you,” Raisani explained. “But if I send your resume up to the person that’s up above me, and they see you’ve never directed an episode of television, you will be taken out of consideration. What you’re running into is you’re getting to here and having a great meeting. But up there, it’s just about checking a box.” 

Raisani left that meeting knowing he had to change — and it wasn’t the only meeting he took like it. He realized his path wouldn’t be a straight line, and he had to remain flexible. He knew being in the Netflix program alone wouldn’t get him a job, but the real value of the program was it got him to a point where he couldn’t be ignored any longer. 

“It started taking the the reasons to say no away,” Raisani said. “It’s less about getting a yes and it’s more about taking away people’s opportunity to say no. And once you can get enough of the no’s out of the way, then you end up with a yes. But that meeting where you hit a home run, everybody loves you, and you come away with an episode, I never had that experience.”

Raisani’s other incubator experiences were valuable in their own way, but the Netflix program hit different. Barclay assigned exercises that went beyond providing a forum for a few guest speakers. Raisani said he had to write “extensive shot breakdowns,” taking an existing script Barclay had already shot and lay out an entire plan for how he would shoot it. Raisani said it amounted to doing a full day of prep on top of having a full time job. The other incubators didn’t come close to Barclay’s 10-week crash course in terms of homework. 

Barclay also used the other students in the cohort as sounding boards for the students, asking them to critique each others’ work. And he lectured about things not generally taught in film school such as the hierarchy of TV directing or even the spiritual side of the craft. Barclay also brought in speakers like Ava DuVernay, Charlie Hunnam, and Barry Jenkins to talk about their craft, and in Hunnam’s case, the nuances of working with actors for young directors who had never really done it before. 

Raisani isn’t the only one from his graduating class to find some success in Hollywood, some not even at Netflix. Juanesta “Winnie” Holmes has directed episodes of “Family Reunion” and “The Upshaws,” and Gonzalo Amat has directed “Fire Country,” “Chicago Med,” and Law & Order: Organized Crime” for network TV. Barclay says it’s in Netflix’s interest to develop people who can move between different genres and styles, even if they wind up directing elsewhere. 

But Raisani is something of a unicorn. His brother, Rashad Raisani, is an EP on “9-1-1: Lone Star,” and on “The Last Airbender” he’s part of a fully AAPI directing team. Barclay early on in the program told Netflix Raisani was “one of the ones I would hire,” touting his accessible leadership style and ability to express ideas you want to embrace. 

“I can’t exactly bottle that skill, but if I could, I would make a lot of money,” Barclay said of Raisani.

Raisani and Barclay both believe however that if he’s not going to be a one-off anomaly of the DEI push, studios need to do more with their programs. Raisani’s idea is to guarantee an episode of television within two years of completing an incubator and let them check that box, something Barclay says other programs are slowly adopting. If the studio isn’t 100 percent confident in that person to let them film an episode of TV, they shouldn’t be in the program to begin with. 

“You’re going to see people that make that transition versus people that end up stuck in this void of, ‘I’ve done a lot of programs but I never got an opportunity to direct an episode,'” Raisani said. “I certainly got got stuck in that void.”

“It needs to go beyond that,” Barclay added, saying it can’t just be something a studio is obligated to do. “I think it needs to also accept people that you’re willing to stand behind and have a commitment for. If that show gets canceled, you still have the commitment and Netflix will keep looking out for you and keep finding opportunities for you.”

#natla #atla #avatar the last airbender #netflix avatar #netflix atla #avatar netflix #atla netflix #netflix #jabbar raisani #interview #article #indiewire