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EntertainmentYahoo Movies UKElizabeth Olsen thinks she’ll pop up in 'Spider-Man 3'
Elizabeth Olsen has given her biggest indication yet that she’ll appear in Spider-Man 3.
EntertainmentYahoo Movies UKChristopher Nolan will reportedly not work with Warner Bros again
Christopher Nolan is reportedly still so incensed with Warner Bros that he might not ever work with the studio again.
EntertainmentYahoo Movies UKThe best movies to watch on UK TV: Saturday, 23 January, 2021
Take your pick from claustrophobic thrillers, time-loop nightmares, chess dramas and the greatest spy thriller you never saw.
EntertainmentThe WrapJohn Krasinski’s ‘A Quiet Place Part II’ Delayed Again to Fall
John Krasinski’s “A Quiet Place Part II” has been delayed again, this time to Sept. 17. The film had its world premiere March 8, 2020 and was scheduled to hit theaters that month, but due to the coronavirus pandemic, it was rescheduled to September 2020. However, last July, Paramount announced it would be moving the film’s release to April 23, 2021 — its most recent release date. In March, Krasinski said, “One of the things I’m most proud of is that people have said our movie is one you have to see all together. Well due to the ever-changing circumstances of what’s going on in the world around us, now is clearly not the right time to do that. As insanely excited as we are for you all to see to see this movie, I’m gonna wait to release the film til we CAN all see it together! So here’s to our group movie date! See you soon!” Also Read: 'A Quiet Place Part II,' 'Top Gun Maverick' Pushed to 2021 by Paramount “A Quiet Place” made $340.9 million worldwide on just a $17 million budget for Paramount in 2018, with just under 45% of that total coming from international markets. The sequel brings back Emily Blunt along with Millicent Simmonds and Noah Jupe as they continue to fight for survival against monsters that have invaded Earth, with keeping completely silent the only way to avoid detection. Krasinski wrote and directed the sequel. The move comes as other studios have also begun to shuffle their schedules and to move big titles out of the spring calendar — and push others into 2022. Earlier today, Disney pushed “The King’s Man” to August, and on Thursday, MGM decided to push the James Bond film “No Time to Die” to October. Also Read: John Krasinski's 'A Quiet Place Part II' Moves Back Release Date And Sony announced the postponement of five films — moving “Cinderella” and “Peter Rabbit 2: The Runaway” from winter and spring dates into summer, pushing “Ghostbusters: Afterlife” from June to November and shifting two more big films, Tom Holland’s “Uncharted” and Jared Leto’s “Morbius,” into early 2022. The biggest holdouts are “Black Widow,” scheduled for May 7, and “F9,” slated for release on May 28. Read original story John Krasinski’s ‘A Quiet Place Part II’ Delayed Again to Fall At TheWrap
EntertainmentVariety‘A Quiet Place 2’ Gets New Release Date
Add “A Quiet Place Part II” to the growing list of 2021 films that have already been delayed because of the coronavirus pandemic. Paramount’s post-apocalyptic thriller — directed by John Krasinski and starring Emily Blunt — has been postponed for a third time. It will now open in theaters on Sept. 17. “A Quiet Place […]
CelebrityVarietyGregory Sierra, ‘Barney Miller’ and ‘Sanford and Son’ Actor, Dies at 83
Gregory Sierra, best known for his roles as Sgt. Miguel “Chano” Amanguale on “Barney Miller” and Julio Fuentes on “Sanford and Son,” died on Jan. 4 in Laguna Woods, Calif., according to Orange County Health Dept. records. He was 83. The New York-born-and-raised actor, of Puerto Rican descent, found success in his recurring role as […]
EntertainmentThe Wrap‘MLK/FBI’ Director: ‘America Has Reached a Tipping Point’
A version of this story about “MLK/FBI” and Sam Pollard first appeared in the Documentaries issue of TheWrap’s awards magazine. The documentary “MLK/FBI” delves into the years in the 1960s when the FBI engaged in a clandestine campaign to spy on and discredit civil rights activist and leader Martin Luther King, Jr. Director Sam Pollard’s film is a portrait of a turbulent time when the country was divided and race relations were a flashpoint for conflict — and it appears now in a different era, but one that is bitterly divided in its own way. The film premiered at 2020’s Toronto International Film Festival, in the wake of Black Lives Matter protests around the country. It was released theatrically and on VOD on Jan. 15, in time for Martin Luther King Day and for the end of the Donald Trump administration, with its attempted demonization of those protestors. “It seems like America has reached a tipping point,” Pollard told TheWrap in an interview. The release also coincides with Pollard receiving the Career Achievement Award at the recent IDA Documentary Awards, which honored him for 50 years as an editor and director on films that have chronicled the Black American experience. Also Read: 'MLK/FBI' Film Review: J Edgar Hoover's Victimization of Martin Luther King Tells Just Part of the Story Obviously, we’re at a time when the issues that your film explores are in the forefront of the national conversation. Do you have any sense at this point that people might be more willing to consider these lessons and reckon with the American past now? Well, I feel like in the last (few) months, that’s been the case, but let’s see how long it lasts. I’ve been around the block a few times. Things don’t always turn out the way you want them, but it seems like America has reached a tipping point and let’s hope that things will change in a very substantial way. I mean, I grew up in New York City — I didn’t grow up like my dad in Mississippi or my mother in Georgia, who had to live through the years of segregation. But it still existed even when I was growing up, not so much in New York as in other places in America. And police brutality against Black men and Black women still exists, so let’s hope that the protests in the streets and the fact that communities are being galvanized can make progress toward a change in the American psyche. Sam Pollard photographed by Chris Loupos for TheWrap What led you to tell this particular story? My producer, Benjamin Hedin, came to me and said he had just read this very interesting book about Dr. King and the FBI and J. Edgar Hoover and the surveillance of King in the ’60s. So I read the book and thought it would be wonderful to make a very serious and intense documentary about how the FBI and J. Edgar Hoover felt that they wanted to discredit Dr. King and his role in the civil rights movement. How much of that story did you know before you read the book? I knew this story because I’m a real student of history and a student of the civil rights movement, having worked on “Eyes on the Prize” and “The Rise and Fall of Jim Crow” and “Slavery by Another Name.” So I was familiar with it, but I wasn’t as deeply connected to all the details that we uncovered in the film. Also Read: Oscars Obliterate Old Record With 240 Qualifying Documentaries Some of the people in the film address the idea that by talking about the FBI’s surveillance of Dr. King and the salacious material that they gathered in an attempt to discredit him, perhaps that makes them complicit in doing what the FBI was trying to do, which was to damage his reputation. Is that something that you thought about? Absolutely. That’s a concern – would we be basically helping the FBI? But Ben and I talked about it over and over again. Here we are almost 40, 50 years later, and we just thought it was important to document this very complicated and densely packed story. The FBI basically tried to say that this man wasn’t an important figure because he wasn’t a monogamous human, and he shouldn’t be respected. And I just thought that telling this story, quite honestly, was not going to tarnish the name and the legacy of Dr. King in any way, One of the fascinating things in the film is to see the “I Have a Dream” speech, which over the years has been accepted and codified as a grand inspirational moment. And yet we learn that the FBI’s reaction was to immediately write a memo calling him “the most dangerous Negro in America.” In 1955, Dr. King comes on the scene when he basically leads and supports the Montgomery bus boycott. He becomes a threat to the notion of what America should be. America, to many white people, was a place where African-Americans knew their place. They didn’t want to make waves, they didn’t want to integrate, they were happy to be patted on the head and to be segregated. But here comes King and his band of followers, and they’re saying that’s not the case. They’re saying, “We’ve got to go out there and protest and march and sit in to challenge this notion of the American status quo.” That had to be frightening to people like J. Edgar Hoover and (FBI official) William Sullivan, because he was upending the notion of what America should look like. Your film is focused on the FBI surveillance, but it expands well beyond that to address Dr. King’s impact on society and on race in America. We felt that it was important to do both. You’re telling parallel stories. You want to look at what the FBI was doing, but you also want to get a feeling of the trajectory of King and (the Southern Christian Leadership Conference), the NAACP and (the Congress of Racial Equality), to see what they were doing in the late ’50s and early ’60s to break the back of segregation in America. And you also want to look at the fact that the FBI, which had started (the illegal surveillance and infiltration program) COINTELPRO in the ’50s, was not only focusing on people like Dr. King and members of his organization, but by the mid ’60s, they were focusing on people like Angela Davis, the Black Panther party, Malcolm X — they were focusing on anybody they felt was challenging the so-called American way of life. Also Read: 9 Documentaries to Watch for Martin Luther King Jr Day (Photos) Was it a challenge to decide how much to include and how broad to make the film? Always a challenge. Every time you make a film, you have to challenge yourself to figure out what to put in and what to take out. If you had seen our first assembly, it was another half hour to 45 minutes longer. It’s a delicate process in making a film. The process is always about understanding that you have to constantly keep re-editing and reshaping and rethinking how you want that story to unfold. You also did a remarkable job of collecting and assembling archival clips. It’s not just footage of Dr. King and J. Edgar Hoover – anytime anything is mentioned, you have some sort of clip to go with it. I imagine that must’ve been just a huge job to find a clip that fits basically every moment of this film. When you’re doing an archival documentary, the most important person in that process is the archival producer who has to do that deep dive to find all the material and the imagery that we need to tell the story. And another big challenge for this particular team was the fact that we didn’t have any interviews on camera. They were all off camera, so you’d need to find all the stuff they’re talking about. When you have people on camera, you can get away with not finding all the footage – but in this case, we needed as much material as possible. Was it an artistic decision from the start that to keep those talking heads off camera? We did shoot the interviews on camera, but Ben and I immediately thought from the very beginning, before we shot a frame of film, that we didn’t want any interviews on camera. We wanted to do it all voiceover with archival material. It gives you a nice moment at the end of the film, when we actually see small clips of these people that we’ve been listening to for the last two hours. I wish I could take credit for that, but it was my editor who suggested that. And it was a great suggestion. I get a lot of credit as a director, but making films is really a collaborative process. You’ve got to have a good producer like Ben Hedlin, you’ve got to have a really good editor like Laura Tomaselli, you’ve got to have a good archival producer like Brian Becker. And they all have to figure out how to be in sync to give the film life. A lot of the documents that the FBI wrote during their surveillance of Dr. King have been released, but I gather the recordings they made of him can be released in 2027. That’s supposedly the date, 2027. And as you see in the film, some people don’t think they should be released. Do you think they should be released? I do. I do, but who knows with what they’ll do to them? When you get these documents through the Freedom of Information Act, they’re still redacted. You can barely read these things, really. Read more from the Documentaries issue here. Read original story ‘MLK/FBI’ Director: ‘America Has Reached a Tipping Point’ At TheWrap
CelebrityThe WrapGregory Sierra, ‘Barney Miller’ Actor, Dies at 83
Gregory Sierra, the actor known for his roles on “Barney Miller” and “Sanford and Son,” has died at the age of 83, according to The Hollywood Reporter. A family spokesperson told THR that Sierra died earlier this month after a long battle with cancer. Sierra was best known for co-starring on the first two seasons of “Barney Miller” as the emotionally volatile Sgt. Miguel “Chano” Amanguale. He also appeared on three seasons of “Sanford and Son” as the Sanfords’ Puerto Rican neighbor Julio Fuentes. Also Read: Bob Avian, Tony-Winning Choreographer of 'A Chorus Line,' Dies at 83 His other TV credits include “Hill Street Blues,” “Soap,” “Miami Vice,” “Murder, She Wrote” and the short-lived “A.E.S. Hudson Street.” His film credits include “The Flying Nun,” “The Towering Inferno,” “The Trouble with Spies” and “Mafia!” Gregory Sierra’s final acting credit was the long-delayed Orson Welles film “The Other Side of the Wind,” which was released on Netflix in 2018 with footage shot by the late director in the 1970s. Read original story Gregory Sierra, ‘Barney Miller’ Actor, Dies at 83 At TheWrap
NewsVarietyAnthony Pellicano Is Back in Business and Working for Joel Silver (EXCLUSIVE)
Anthony Pellicano, the former private eye who spent 16 years in federal prison, is back in business as a Hollywood fixer. Pellicano confirmed to Variety that he is working for Joel Silver, the “Die Hard” and “Lethal Weapon” producer who exited his company in 2019. Silver has since been engaged in an arbitration case with […]
BusinessVarietyFor Big Hit Entertainment Stock, BTS Is (Still) the Ticket
Despite disruptions to the music industry caused by the coronavirus pandemic, Big Hit Entertainment, the management company behind K-pop superstars BTS, had a booming 2020. Last year saw BTS fully penetrate the U.S. music market, landing a No. 1 on the Billboard Hot 100, massive YouTube tallies, a Grammy nomination and swift album sales. In […]
EntertainmentVarietyHalsey Finally Cancels Long-Postponed Tour: ‘I Wish Things Were Different’
Halsey has officially pulled the plug on what would have been her 2020, then 2021, tour, as the resumption of major arena tours this year looks increasingly uncertain. The announcement came in a message to fans on Twitter Friday afternoon. “Safety is the priority.,” the singer tweeted. “I wish things were different. I love you. […]
EntertainmentVarietyCate Blanchett, Christos Nikou Discuss Greek Oscar Contender ‘Apples’ and Movie’s Accidental Timeliness
Greek filmmaker Christos Nikou marks his directorial debut with “Apples,” an accidentally timely pandemic movie that captured imaginations at the Venice Film Festival, where it opened the respected Orrizonti section, and has since gone on to represent Greece in the international feature film Oscar race. The film wasn’t actually shot during the COVID-19 crisis, but […]
EntertainmentVarietyAmazon Sets Release Date For Robert Kirkman’s ‘Invincible’ (TV News Roundup)
In today’s TV news roundup, Amazon Prime Video sets the release date for Robert Kirkman’s “Invincible,” and the Savannah College of Art and Design announces their lineup for the 2021 aTVfest. DATES Amazon announced that Robert Kirkman‘s new, hour-long animated series, “Invincible,” will premiere the first three episodes on March 26, with each subsequent Friday […]
EntertainmentThe WrapIranian Oscar Entry ‘Sun Children’ Cries Out Against Child Labor
A version of this story about “Sun Children” first appeared in the International Film Issue of TheWrap’s awards magazine. The films of director Magid Magidi have represented Iran at the Oscars more than the work of any other director — six times in total, beginning with the 1998 nominee “Children of Heaven.” Like that movie, his latest film, “Sun Children,” focuses on young people — in this case, a group of street kids and child laborers who do jobs around the city and are kept under the control of men who only pretend to be benevolent. At 2020’s Venice Film Festival, teen actor Rouhollah Zamani won the Marcello Mastroianni Award for an emerging performer for his performance as a desperate kid who sees a way out when his boss tells him to locate treasure that’s been hidden beneath a local cemetery. But the only way to reach the tunnels that lead to that treasure is by infiltrating a special school for at-risk children — a ploy that slowly starts to change his outlook. Also Read: Oscars International Race Breaks Record With 93 Entries Why did you want to tell this story? All of my movies have been about children, and the problem of working children is one that interests me now. I’ve had it in my heart, and I’ve been waiting for an occasion to work on a film about the abuses that they are living. In Iran now, we are surrounded by countries that are very vulnerable, and we have so many immigrants, especially from Afghanistan but also from Pakistan and Iraq — and they are in dire straits financially, psychologically, emotionally. And of course, we have Iranian kids, too. How did you find the kids you cast in your movie, and how did you get such terrific performances from them? One of the main challenges was to find the kids, as you can imagine, because I wanted to have working children. Finding them in these communities was really a hard task. It took months to find them, and I interviewed so many of them. But I’m very happy with the result — I have to admit that these kids were impressive beyond my imagination. Once you choose the right kids, 50% of your work is done. The rest comes from experience. I’ve been working with children for 25 or 26 years, so I know how to direct them and how to handle them. Also Read: Oscars International Entries, 2020: The Complete List Can a movie like this change people’s perceptions of a problem like child labor? Definitely. I’m a firm believer of the influence that art can have on a society. Even now, we are dealing with corona and we can’t have public screenings, but even considering all these problems, I think the film has had the influence I wanted. Already in my own country, people are coming forward to contribute to construction of special schools for these kids. If we don’t make the kids’ lives easier, if they don’t get educated, we are destroying our own future. Read more from the International Film Issue here. Read original story Iranian Oscar Entry ‘Sun Children’ Cries Out Against Child Labor At TheWrap
EntertainmentThe Wrap‘No Time to Die’ Sets Off Another Round of Big Movie Delays – When Will Box Office Recover?
MGM on Thursday announced what has been expected for weeks: The 25th James Bond film, “No Time to Die,” is moving again from April to October 2021. That kicked off a new wave of postponements of major Hollywood titles: Universal moved Tom Hanks film “Bios” from April to August; Sony delayed five of its upcoming films, including “Ghostbusters: Afterlife” and “Peter Rabbit 2;” and Disney pushed at least three films from its spring slate, including “The King’s Man.” For studios, the reality has set in that the coronavirus vaccine will not be rolled out quickly enough to reopen the roughly two-thirds of North American movie theaters that remain shuttered because of the pandemic. And that means holding off on unspooling any big titles to mostly dark theaters. “The news that there wasn’t a solid vaccination plan in place when the new administration arrived is just confirmation that spring was too optimistic a timeframe for releasing films again,” Boxoffice analyst Shawn Robbins said. “It’s just a matter of time before we see the rest of the April slate move,” he added, mentioning the John Krasinski sequel “A Quiet Place Part II” that Paramount still has slated for release on April 23....Read original story ‘No Time to Die’ Sets Off Another Round of Big Movie Delays – When Will Box Office Recover? At TheWrap
EntertainmentVarietyTicket Brokers Agree to Pay $3.7 Million in Scalping Settlement
Three Long Island-based ticket brokers agreed to pay around $3.7 million to settle alleged violations of the Better Online Ticket Sales (BOTS) Act, the Department of Justice and Federal Trade Commission announced on Friday. According to the announcements, these are the first enforcement actions that the department and the FTC have brought under the BOTS […]
EntertainmentVariety‘America’s Most Wanted’ Returns to Fox, Ten Years After Original Cancellation
A decade after Fox canceled “America’s Most Wanted,” the network is reviving the series — with new host Elizabeth Vargas. The new “America’s Most Wanted” will premiere this March on Fox, the network announced on Friday. The format will be the same: “Vargas will ask for viewers’ help as she breaks down cases from the […]
CelebrityVarietyJoJo Siwa Comes Out as Gay After Viral ‘Born This Way’ TikTok
JoJo Siwa, the 17-year-old singer, dancer, actor and YouTube personality, has come out as gay, after alluding to it on social media over the past couple days. Siwa first hinted at her coming out in a TikTok video posted to her over 31 million (and growing) followers on Thursday. In the video, she dances to […]
EntertainmentVarietyTV Ratings: Jared Padalecki’s ‘Walker’ Earns CW a Big Win Thursday Night
Though it wasn’t the “winner” of Thursday’s Nielsen Live+Same Day fast affiliate rankings, The CW’s latest series, a Jared Padalecki-fronted reboot of “Walker, Texas Ranger” entitled “Walker” performed outstandingly well compared to the network’s numbers these past couple of weeks. It attracted roughly 2.4 million viewers to the small screen and earned a rating of […]
EntertainmentVarietyU.S. Consumers Now Pay $47 Monthly for Streaming Services — Up 24% Since COVID Hit, Survey Finds
The “streaming wars” are now in full swing, but so far the competition has produced a rising tide lifting all boats — the adoption of subscription-video services has soared across the board during the time of the coronavirus. The question now is whether that will mostly stick, or if there’s a wave of SVOD cancelations […]
EntertainmentThe WrapWhy ‘Beginning’ Director Filmed Sexual Assault Scene Quietly, From a Distance
A version of this story about “Beginning” first appeared in the International Film Issue of TheWrap’s awards magazine. First-time director Dea Kulumbegashvili began her film career making short films at the New School and Columbia University in New York City, but for her first feature, she returned to the small town in Georgia (the country, not the state) where she grew up. The film, “Beginning,” is set in a rural community at the feet of the Caucasus Mountains, and follows a former actress who gave up her career to be with her Jehovah’s Witness husband. In the film, which plays out in long tableaux with minimal editing, the lead character faces ostracization from the community, including a firebombing of the church, and abuse at the hands of a police detective who mocks, fondles and later rapes her. “Beginning” was chosen for the official selection at the 2020 Cannes Film Festival, although the festival itself did not take place, and was later chosen as Georgia’s entry in the Oscars’ Best International Feature Film category. Also Read: Oscars International Race Breaks Record With 93 Entries The style of the film is very distinctive, with the camera setting up in one spot and observing the action for long stretches without moving or cutting. When I was writing the script, it was really important to decide: What am I trying to create, what are the spaces, how do the characters live? I wanted to grasp the essence of each moment of life of this woman. I didn’t think about it as a style — it was mostly a way to create a tableau, to invite the audience to look. I said to my cinematographer, “I want to make a film that invites people to really look at what is on the screen.” What led you to this particular story? I had been away from Georgia for a long time, because I studied in New York. And when I went back there at one point, there were people I saw that were relatives, but everyone was treating them like they were strangers. They had become Jehovah’s Witnesses, which they had not been when I lived there – and because of the choice of their religion, they were no longer accepted in the community that had been their home. It made me think about isolation and alienation, and I knew it could be a film. Both in the religion and in the community, the main character has very little agency in her own life. Was that your experience growing up in Georgia? Yes, but it’s not just Georgia, or not just this town. It’s very important to me to explore the so-called traditional narrative of cinema, where all the women are secondary characters. And growing up in this town, in school we were told, very straightforward, what the role of a woman was. I thought it was so extreme. And when I went to New York, I realized that women all over the world are dealing with the same problems to a certain degree. It’s not just the pain that women in my own country are going through. Also Read: Oscars International Entries, 2020: The Complete List The scenes in which she is harassed and then abused by a policeman are hard to watch, but the abuse scene, in particular, is filmed in a beautiful, bucolic setting and from a distance. I always knew the assault would be filmed in real-time, but at the same time, I knew it would be shot from a distance. I didn’t want to cut it and emphasize anything. If the camera was closer, where do I position the audience? I wanted to create a distance, and I didn’t want to cut or emphasize anything. With what is happening on-screen, I hope that everyone can feel the terror of this moment, and I thought as a director I don’t need to emphasize anything. The audience knows what it’s watching. Read more from the International Film Issue here. Read original story Why ‘Beginning’ Director Filmed Sexual Assault Scene Quietly, From a Distance At TheWrap
EntertainmentThe Wrap‘Rebuilding Paradise': Town Official Talks About Recovering From 2018 Wildfire
In November 2018, more than 50,000 residents in Paradise, California were displaced after the Camp wildfire destroyed the entire town. Now, Ron Howard’s latest documentary “Rebuilding Paradise” tells the story of how the town’s leaders, including superintendent Michelle John, fought to pick up the pieces. John, along with producers Xan Parker and Justin Wilkes, discussed the making of the National Geographic film with TheWrap Editor-in-Chief Sharon Waxman as part of TheWrap’s Awards Screening Series. She says that in the nearly two years since rebuilding began, about 4,000 residents have returned to Paradise with 500 homes rebuilt. “Every day is a struggle. The school district is struggling to stay afloat and everyday brings some new challenges but also some new building,” John said. “There’s hope. It’s just very slow going right now.” wol Also Read: 'Wolfwalkers': How Cartoon Saloon Made the Most Beautiful Animated Scene of 2020 Wilkes, who serves as the head of the documentary division of Ron Howard’s Imagine Entertainment, said that he and Howard rapidly put together a documentary team led by Parker days after the fire swept through Paradise. Parker said that the fire survivors quickly warmed to Howard, who had spent many years traveling through Paradise as his mother-in-law once lived there while many other relatives lived in the nearby town of Redding. “We wanted to have the range of people who were struggling but couldn’t leave and were just trying to make it and people like Michelle who just stepped into leadership roles,” Parker said. “It was an exciting thing actually to document a group of people who are struggling but trying to help each other in small and big ways.” John was at the Sundance Film Festival last year when “Rebuilding Paradise” premiered, and she admits that rewatching the firestorm that consumed her home was a very difficult experience. But reliving that pain was worth it to her because she believes that the film and their story can be a guide for those who lose their homes in natural disasters, especially as those disasters are intensified by climate change. Also Read: How 'Arracht' Actor Starved Himself, Then Packed on Weight for Irish Famine Drama (Video) “What I hope we portrayed was a sense of inspiration, because this is as tragic as you can get,” John said. “You think about this happening to others and then it happens to you and you really are able to keep going, I hope that’s an inspiration to others, that the will of the human spirit is actually to keep moving.” For the producers, it was just as hard emotionally to make the film, as they and Howard had bonded with the Paradise residents during the months they spent shooting the documentary. Wilkes said he believes Howard has always had a soft spot for small town America instilled in him since childhood, when he played Opie on “The Andy Griffith Show.” “It was heartbreaking because in so many ways we were living with this community in real time as these events were taking place, whether we were on the ground or in the edit room. For Ron, there was always in his mind this conceit of ‘Let’s spend a year on the ground,'” Wilkes said. “Maybe for all the time he spent in Mayberry in his earlier life, a small town and the traditions of a small town really resonated with him and I think it resonated with the residents of Paradise.” “Rebuilding Paradise” is now available to stream on Hulu. Check out more remarks from Wilkes, John and Parker in the clip above. Read original story ‘Rebuilding Paradise': Town Official Talks About Recovering From 2018 Wildfire At TheWrap
EntertainmentThe WrapJulie Dash, Cynthia Erivo Among 2021 Sundance Jury Members
“Harriet” star Cynthia Erivo and “Daughters of the Dust” director Julie Dash are among the 22 names selected to oversee the competition juries at the 2021 Sundance Film Festival. Erivo and Dash will lead the U.S. Dramatic Competition jury this year alongside Hanya Yanagihara, editor of the New York Times Style Magazine and author of the novels “The People in the Trees” and “A Little Life.” Leading the U.S. Documentary jury are Ashley Clark, a curatorial director at Criterion Collection and formerly the director of film programming at BAM, “The Act of Killing” director Joshua Oppenheimer and Lana Wilson, whose Taylor Swift documentary “Miss Americana” premiered at Sundance last year. Also Read: Juno Films Nabs Bjorn Andresen Doc 'The Most Beautiful Boy in the World' Ahead of Sundance “Our jurors have reached a high level of achievement in their individual fields and can bring their unique perspective to the process of analyzing and evaluating films,” Kim Yutani, Sundance’s director of programming, said in a statement. “We’re pleased to bring this accomplished, creative group together, and look forward to hearing their thoughts.” Sundance is fully virtual this year, with a handful of drive-in screenings taking place around the country. The 22 people selected for the jury will take part in a digital ceremony on Feb. 2 to present awards to the feature-length and short film winners. Istanbul producer Zeynep Atakan, filmmaker Isaac Julien and star of “A Fantastic Woman” Daniela Vega will present the prizes in the World Cinema Dramatic competition. And filmmaker Kim Longinotto, executive director of Documentary Africa Mohamed Said Ouma and Taiwanese documentary filmmaker Jean Tsien will lead the World Cinema Documentary jury. Also Read: 'Judas and the Black Messiah' Added to Sundance Lineup The jurors for Sundance’s NEXT session are Kate and Laura Mulleavy, directors of 2017’s “Woodshock.” The Short Film Jury is led by actor Raul Castillo, visual artist Tacita Dean and programmer and curator Inge de Leeuw. And finally, a jury has already selected the winner for the Alfred P. Sloan Feature Film Prize to “Son of Monarchs.” The selection was made by Algorithmic Justice League founder Joy Buolamwini, writer and director Aneesh Chaganty, “A Call to Spy” director Lydia Dean Pilcher, Swiss producer Lena Vurma and Dr. Mande Holford, an associate professor of chemistry. Read original story Julie Dash, Cynthia Erivo Among 2021 Sundance Jury Members At TheWrap
EntertainmentVarietySundance Film Festival Jurors to Include Cynthia Erivo, Daniela Vega, Julie Dash
The Sundance Film Festival announced 22 jurors that will bestow this year’s awards at the digital ceremony taking place Feb. 2. The judges include actor Cynthia Erivo, Chilean actor Daniela Vega and sibling designer-filmmakers Kate and Laura Mulleavy. The awards, which recognize standout artistic and cinematic prowess, are decided on by six section juries. As […]
BusinessVarietyNBCUniversal to Shut Down Sports Network NBCSN at End of 2021
Fans of big NBC sports franchises like the NHL and Premier League will have to follow them to a new home. NBCUniversal will shutter its NBCSN sports network, and move some of its top sports properties to the USA network in a maneuver executives believe will boost the economics of the general-entertainment cable outlet at […]
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