Notizie

There is no confusion quite like the confusion that accompanies the break-up rebound — the heart trying to open itself up again to the world, against the white-knuckle grip of that older love. It’s a charged energy that budding NYC pop artist Softee navigates deftly on her new song, “Crush.”

Softee is the DIY project of Nina Grollman, a Julliard-trained actress who made her Broadway debut opposite Denzel Washington in a 2018 production of Eugene O’Neill’s The Iceman Cometh, and later starred as Scout Finch in the recent revival of To Kill a Mockingbird.

Jim Dandy Nov 4, 2019

The Infected: King Shazam deals with the ramifications of a Billy Batson turned evil.

Sina Grace has horror in his blood. Or at least in his mental infrastructure. The comics writer, who burst into the big time with Self Obsessed, his refreshingly honest memoir comic, has spent most of the last five years writing fun, poppy, note-classic superhero books like Mighty Morphin’ Power Rangers and Iceman, or winning critical acclaim with his ghost romance book with Siobhan Keenan, Ghosted in L.A. But he’s getting his first shot at DC jumping into the middle of Batman/Superman’s Infected storyline. The Shazam one shot The Infected: King Shazam, the new book goes way harder at straight up horror than anything Grace has ever done as a writer, at least.

“I may not be known for horror, but I did spend years as Robert Kirkman’s Editorial Director at Skybound,...

From their humble Silver Age beginnings, to comic culture behemoth, to Marvel’s first successful movie franchise. The X-Men have certainly had a roller coaster ride in their fifty six years existence. Starting out with a roster of five led by Charles Xavier the ranks of the X-Men increased year on year. Most notbaly under the pen of Chris Claremont along side artists Dave Cockrum, John Byrne, Paul Smith, Marc Silvestri and Jim Lee the ranks swelled to hundreds. In this era the X-Men became their own universe within the main Marvel universe. With the levels of popularity increasing along with the success that came with it, spin offs, multi part stories and cross overs became the norm. The X-Men were not just the center of the Marvel Universe they were the center of the comics universe. It seems only a few years ago we couldn’t escape the rumours...

“The Devil’s Playground is such a completely and thoroughly realized piece of cinema that almost every scene and sequence in it compels admiration.” – Boston Globe

Hollywood director Fred Schepisi’s first feature film is The Devil’s Playground, a 1976 Australian semi-autobiographical drama of a 13-year-old boy’s struggles at a Catholic seminary in the 1950s. The film, long out of print, is being re-released by Artsploitation Films in a new widescreen HD transfer. Included in the DVD is a featurette with Schepisi, as well as an interview and audio commentary by him. The film was released on DVD and VOD August 8th.

Australian-born filmmaker Fred Schepisi, directed only The Devil’s Playground and The Chant of Jimmie Blacksmithbefore being lured to Hollywood where his works include Barbarosa, Iceman, Plenty, Roxanne, A Cry in the Dark, The Russia House, Six Degrees of Separation, I.Q. andFierce Creatures. The Devil’s...

The greatest challenge for anyone seeking vengeance for a savage act that was committed against their family is not to turn to that same violence themselves when they finally face their relatives’ attackers. That’s certainly the case for actor Jürgen Vogel’s protagonist, Kelab, in the new thriller, ‘Iceman.’ In honor of Omnibus Entertainment distributing the […]

The post Jürgen Vogel’s Iceman is On the Trail in Thriller’s Exclusive Clip appeared first on Shockya.com.

Editor Billy Weber has been one of reclusive filmmaker Terrence Malick’s preferred craftspeople. Their relationship has spanned 1973’s “Badlands,” 1978’s “Days of Heaven,” 1998’s “The Thin Red Line” and 2011’s “The Tree of Life.”

The most recent picture has now been released in a “director-approved special edition” by The Criterion Collection, showcasing a new cut of the Palme d’Or-winning and Oscar-nominated film, lensed by Emmanuel Lubezki and starring Brad Bitt and Jessica Chastain in a story that melds childhood memories with a meditation on the nature of the universe.

Malick worked for decades on the ambitious film, and Weber treasures his collaboration with the director on the project. The Criterion Collection cut includes an additional 50 minutes of footage, and although Weber was not directly involved on the project, he was able to contribute nonetheless. “Some of the passages I initially cut during production have found their way back in,...

Hotel Transylvania 3: A Monster Vacation also set to debut in UK.

After two sizable debuts in consecutive weeks at the UK box office – Mamma Mia! Here We Go Again with £9.7m last week and Incredibles 2 with £9.5m the week before – two more titles will be looking to make a splash this weekend.

Paramount’s Mission: Impossible - Fallout is riding the crest of a wave of positive reviews, with Screen’s own calling it a “thrilling franchise topper”. Despite being the sixth entry in the long-running Tom Cruise-fronted Mission Impossible series, the possibility of franchise fatigue should...

To mark the release of Iceman on 27th July, we’ve been given a poster and movie download code to give away.

Inspired by the discovery of ‘Ötzi The Iceman’, the oldest known human mummy found in 1991, approximately 5300 years after his death, Iceman is an immersive, universal story of survival told with minimal dialogue in an extinct dialect and without subtitles, offering a unique and fascinating cinematic experience which walks in the footsteps of ancestry to investigate a five-thousand-year-old murder mystery.

The Ötztal Alps, more than 5300 years ago. A Neolithic clan has settled nearby a creek. It is their leader Kelab’s responsibility to be the keeper of the group’s holy shrine Tineka. While Kelab is hunting, the settlement is attacked. The members of the tribe are brutally murdered, amongst them Kelab’s wife and son, only one newborn survives… and Tineka is gone.

Blinded by pain and fury,...

Major Crimes alum Raymond Cruz has booked a recurring role opposite Chris O’Dowd and Ray Romano in the second season of Epix’s Get Shorty. The dark comedy from MGM Television is based in part on the 1990 Elmore Leonard bestseller and created for television by Davey Holmes. In Season 2, Miles struggles to reconcile his ambitions as a filmmaker and a family man with his skill set as a career criminal. His progress in Hollywood is jeopardized when the washed-up producer (Romano) with whom he partnered in Season 1 agrees to wear a federal wire. Cruz will play Swayze, the brutal and murderous leader of a Latino prison gang who styles himself after Patrick Swayze, with long, flowing locks of hair and 80s-inspired dance moves. Cruz recently wrapped the sixth and final season of TNT’s Major Crimes. He also has recurred on Better Call Saul and Breaking Bad,...

May 25 will mark thirty years to the night when little Tommy Westphall gazed into a snow globe and revealed to nearly 23 million TV viewers that six seasons of heartbreak, joy, love, loss, emergencies and “Stat!”s – in short, St. Elsewhere – had been the daydream fancies of a young autistic boy. The revelation angered some, charmed others and, either way, capped the groundbreaking medical drama with the most audacious finale in TV history.

But the shock ending wasn’t St. Elsewhere‘s only legacy, far from it. As the similarly themed ER would in the following decade, St. Elsewhere was early ground for a generation of up and coming actors, including Mark Harmon, Howie Mandel, Bruce Greenwood, Cynthia Sikes and two men who, three decades on, would share a stage on Broadway in one of American theater’s greatest plays: David Morse and Denzel Washington (the brilliant Dr. Phillip Chandler) are both Tony-nominated for their roles – featured and leading, respectively – in The Iceman Cometh, George C. Wolfe’s staging of the Eugene O’Neill classic. Morse plays the regret-filled, death-obsessed ex-anarchist Larry Slade, through whose eyes we watch the arrival of the born-again (sort of) salesman Hickey (Washington), whose annual visit to a Greenwich Village gut-bucket dive bar dredges up long-dormant feelings among the dump’s dead-end alcoholic habitués.

Deadline recently spoke to Morse about, among other things, the experience of reuniting with his long-ago co-star, whom he hadn’t seen in the 30 years since St. Elsewhere faded to white. Since then, Washington, of course, has become one of Hollywood’s beloved and bankable stars, while Morse, among the most talented actors to emerge from TV’s golden Hill Street-Elsewhere era, has led a remarkable and prolific career. To list just a very few of his credits, the 64-year-old actor, who lives in Philadelphia with his wife, has appeared in films such as The Green Mile, The Hurt Locker and World War Z, TV including Hack, Treme, True Detective and Blindspot, and such stage productions as How I Learned To Drive and The Seafarer.

In addition to The Iceman Cometh, Morse’s 2018 will include Showtime’s upcoming Escape at Dannemora, the Ben Stiller-directed limited series about the real-life 2015 prison break in upstate New York.

Here, Morse talks about Iceman, Elsewhere, Dannemore and Denzel, among other things.

This interview has been edited and condensed for clarity and length.

Deadline: I read somewhere that you had to be talked into The Iceman Cometh…

David Morse: Well, last summer I was doing a weeklong workshop of a play that (later) opened in London, and I wound up getting an offer for that and Iceman at the same time, and I was doing two series at the same time – Blindspot and something for Showtime called Escape at Dannemora. The schedule just couldn’t work out for the London thing…I quickly read Iceman, which I’d seen a couple times, and I just was not…I just didn’t feel very excited. I just didn’t get it when I read it. But the people who represent me very wisely said, You should read this again and really think about it. Which I did, and it started to become clear to me what actually is really good about this character.

Deadline: When I first heard about the casting, of course I thought it was designed as a re-teaming of you and Denzel Washington, but that’s not correct?

Morse: No. It’s just the way the world works, you know, for this play coming together. I don’t think it was consciously in anybody’s mind, this sort of re-teaming. It’d be funny to say it was re-teaming at all, considering St. Elsewhere had a cast of 20 people, or 21 people or 17 people depending on the season. Denzel and I did a lot together on St. Elsewhere, but certainly we weren’t a team on it.

Deadline: Had you stayed in touch? Did working together bring up memories?

Morse: It was really an interesting process because we hadn’t seen each other in so long and we did have a history. Clearly we’ve both been through a lot in our life – I mean he’s become a worldwide icon. He’s more than just a great actor. He’s really a symbol in a lot of ways in this world, for a lot of people, and rightfully so. I, obviously, have not had that experience, but I’ve done plenty of work, so we bring all of that together [to play] two characters who are kind of contentious in this play. It’s great for the characters, but it was also a unique experience that I’m grateful for.

Deadline: You’ve done more than “plenty of work.” How do you go about combining theater, TV, film, so successfully? Is it something you plan long-term, or do you do things case-by-case?

Morse: I gave up planning when our children were born, when I had three children to feed and a roof to keep over our head and all of that. Early in my career I said I would never do television at all, then I wound up doing nothing but television for 10 years when I did St. Elsewhere and all those TV movies. So I should have learned my lesson there. I was involved with some great things in television that I could never have done in film.

Now my only plan really is to find the best people to work with and the best material to work with. That sounds like what everybody will say, but I’ve been lucky to be able to do that.

Deadline: We talk about being in a TV golden age now, and we can trace a lot of it back to St. Elsewhere – the multi-character story arc, the subject matter that it tackled. Were you thinking at the time, This is groundbreaking?

Morse: You know, Denzel and I both had the same experience when we decided to do that series. Hill Street Blues actually came out the year before St. Elsewhere, but they were developed at the same time, Bruce Paltrow on one and [Steven] Bochco on the other. They’d been partners on the White Shadow and it just happened that Hill Street came out first. St. Elsewhere got accused of kind of stealing the Hill Street formula, but story-wise I think the St. Elsewhere writers went way beyond what Hill Street did, in terms of the challenges they took on and the way they told stories.

And you’re right – a lot of what we see now has its roots in those writers on both those shows really, but I think especially, in a lot of ways, St. Elsewhere, just because of the range of the storytelling and the topics they took on. I think we knew at the time.

Other shows like Lou Grant, the other Mtm shows, were good, but they were nothing like St. Elsewhere, and when [Denzel and I] read [the script] we both thought there’s no chance this show’s going to go. It’s just too good for TV. It will do 13 episodes and we’ll take our money and go back to New York and do what we want to do. But there we were six years later, still doing St. Elsewhere.

Deadline: Let’s move up to Iceman. Had you ever done any O’Neill?

Morse: My only experience of having done O’Neill was a stage reading series of Iceman at the Shubert Theater in Boston. I don’t know what was in their minds but they decided to do the full length Iceman Cometh, a five hour stage reading, and they asked me to play Hickey in it, or read Hickey, which I did…I was with a really good group of actors, and you would think from doing that reading I would have had an appreciation for Larry Slade, but I think I was just so focused on Hickey then that I really didn’t get the other characters…There really is a genius to this play, and it just takes us deeper and deeper all the time the more we do it.

Deadline: How was this production shaped? There was some trimming…

Morse: When we got to rehearsal George gave us a script with almost all the stage directions gone, and there was at least half an hour of cuts. People have forever talked about the repetition in the play and I think what George wanted to do was spare the audience some of that repetition, particularly with my character and the young Parritt character. A lot is repeated in there – with Hickey too – and George just tried to cut it to the real story and not burden the audience with stuff we didn’t really need. The O’Neill Trust approved all of it.

Deadline: How easy, or difficult, is it for you to transition from one medium to the other, from TV to the stage, say?

Morse: Well, I grew up in theater. It’s what I did first and I really, really love it, but after I did How I Learned to Drive [1997-98, Off Broadway], I didn’t do another play for 10 years. It was just at a period when it was too much on my family and my wife. So I went 10 years and was sort of despairing that I would be forgotten, and then The Seafarer came along.

There were things I had to sort of relearn when I did Seafarer. Things that I felt I knew because I’d been on stage a lot, but Conor McPherson, who directed it, actually called me out on it at one point. He said, We’re not doing a movie. We don’t have the intimacy of a film or television. I started realizing there was not just a vocal language to this but a body language, and it was hard. But he gave me a little kick in the pants and it was good he did, and since then I’ve been conscious of that.

Deadline: You live in Philadelphia. What are the logistics of that, working in this business?

Morse: They get a place for me to stay in New York. I get to go home one day a week and see my wife. Part of the problem when I was doing How I Learned to Drive is I would see my kids one night a week for six months and that was just too hard. We moved to Philadelphia after we lost our house in the earthquake, the ’94 Northridge earthquake.

Deadline: What can you tell us about the Showtime series Escape at Dannemora, directed by Ben Stiller? It’s based on the real life 2015 prison escape in upstate New York…

Morse: No one had ever successfully escaped from that prison and the way they did it was just fantastic and phenomenal, and you’ll see that in this miniseries. You can’t believe what these guys did to get out of there. Benicio del Toro and Paul Dano play the two prisoners who escaped, and Patricia Arquette is playing the woman who was in a very physical relationship with these guys and helped them escape. I play a corrections officer who worked there and helped them escape but didn’t know that he was helping. He actually went to prison for it. He got out recently. He did not want to talk. I offered.

Ben Stiller directed all the episodes, which was amazing. Herculean. I mean, holy crow. I’ll say it again, it was herculean. The story does not make the prison system in Dannemora look very good, or the governor look very good, and they could’ve just shut us out and not let us anywhere near the real prison, but [Governor Andrew Cuomo] wisely allowed us to do that and had his story and the whole thing told. He let us actually shoot inside the prison, which is a fantastic place. I mean, fantastic as in visually fantastic.

Welcome to Rumorville! Here you can learn about casting news that’s about to break in Hollywood. These speculations might be only rumors, but that doesn’t mean you can’t follow the trail all the way to the audition room. “King Lear” Denzel Washington is currently on Broadway starring in “The Iceman Cometh,” but he is wasting no time planning his next turn on stage. According to the Oscar and Tony–winning actor in a recent New York Times interview, he just can’t wait to be king. He is working with “Iceman” producer Scott Rudin on a plan to bring the Shakespeare classic “King Lear” to The Great White Way for their next Broadway production. The project is a few years off, but if Rudin is calling the shots and Washington is starring, The Public Theater casting department of Jordan Thaler and Heidi Griffiths might be chosen to...

The week before last, the Broadway box office boomed. Last week came the inevitable dip out of the stratosphere.

After boffo business fueled by spring-break and holiday traffic, nearly every show on the board slipped last week as vacationers headed back to school and work. Musicals, particularly those powered by the family audiences that tend to turn out during spring break, took the heaviest hits, with drops of hundreds of thousands of dollars at everything from “The Lion King”, “Frozen”, and “Wicked” to “Anastasia” and “SpongeBob SquarePants”.

“Harry Potter and the Cursed Child”, which set a sales record last week, took a step down as it accommodated pre-opening press tickets, but “Mean Girls” bumped back up after its opening-week drop. “Carousel” opened last week, but didn’t dip too dramatically.

In general, the street’s new plays — the quadrant of Broadway least likely to be driven by tourist traffic — held up best.

GLAAD, the world’s largest media advocacy organization for Lgbtq representation, announced the nominees for its 29th annual GLAAD Media Awards Friday. The GLAAD Media Awards honor various branches of media for outstanding representation of the Lgbt community and the issues that affect their lives. On hand to announce live from Park City were “Star Trek: Discovery” actor Wilson Cruz and “Transparent” star Trace Lysette, accomplished Lgbtq activists in their own right.

Read More:GLAAD Report Finds Lgbtq Characters Are Either Invisible Or Used As Punchlines In Studio Movies

Leading the film nominations were Oscar frontrunner “Call Me by Your Name,” “Lady Bird,” and “The Shape of Water.” GLAAD also nominated two gay-themed films that are unlikely to pick up any Oscar nominations, “Battle of the Sexes,” and “Professor Marston and the Wonder Women.” The outstanding limited release film category includes “Bpm,” “God’s Own Country,” and “A Fantastic Woman.

At the Hong Kong Filmart today, Golden Network Asia Limited held a press conference to unveil the promo for The Wrath Of Vajra, a martial arts film from the producers behind the Painted Skin series. This marks Xing Yu's (aka Shi Yanneng) lead debut, and is being called China's answer to Rambo. The former Shaolin monk-turned-actor previously had supporting roles showcasing his martial arts talents in Kung Fu Hustle, Shaolin and Flash Point.According to director Law Wing Cheong, who is currently helming The Iceman Cometh with Donnie Yen, the film will explore themes of cultural pride and present a Chinese hero possessing a strong sense of justice and an indomitable spirit.  On the martial arts scenes, Cheong claims to revive a more realistic style than the recent...

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