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Jodie Foster and Michelle Pfeiffer Wanted to Be Thelma & Louise: Biggest Secrets Behind the Trailblazing Classic

9 hours ago | PEOPLE.com | See recent PEOPLE.com news »

A new book about the acclaimed 1991 film Thelma & Louise offers proof that fans weren’t the only ones in awe of its trailblazing characters.

Off The Cliff: How the Making of Thelma & Louise Drove Hollywood to the Edge, by Becky Aikman, chronicles how Jodie Foster and Michelle Pfeiffer were slated for the lead roles, but had to turn them down after production was delayed. Once the news was out, Hollywood’s top actresses jockeyed for the plum roles.

“It seemed as if every agent who represented anyone with a vagina and a pulse besieged Pathé and Ridley company for a shot, »

- Sam Gillette

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Brad Pitt in Thelma and Louise: Inside the Making of One of Hollywood’s Steamiest Sex Scenes

27 June 2017 7:30 AM, PDT | PEOPLE.com | See recent PEOPLE.com news »

Before fame propelled Brad Pitt above the heights of the Hollywood sign, he was an overly polite, amateur actor who was almost passed over for the role of the seducer-meets-robber J.D. in the 1991 film Thelma and Louise. Now, a new book reveals inside details of his sex scene with Thelma (played by Geena Davis) — a scene so “racy” that it kick-started his reputation as a sex symbol and, if left uncut, would have shot the movie’s rating “past R.”

The young Pitt wasn’t director Ridley Scott’s first (or even second) choice, Becky Aikman reveals in her book, »

- Sam Gillette

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Brad Pitt’s Breakout Role in Thelma and Louise Almost Went to Robert Downey Jr.

27 June 2017 5:00 AM, PDT | Vulture | See recent Vulture news »

The casting directors thought Rdj was too short next to Geena Davis. »

- Hunter Harris

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Fox Will Summon The Exorcist Back Onto The Small Screen This September

23 June 2017 6:33 AM, PDT | We Got This Covered | See recent We Got This Covered news »

Though The Gifted may be the highest-profile series premiere lining Fox’s fall 2017-2018 slate – Bryan Singer and Matt Nix’s X-Men family drama has been booked in for early October – the network still has plenty of fan-favorite shows returning for another crack of the whip. Case in point: The Exorcist.

Whereas a small number of movie-to-tv adaptations bombed spectacularly back in 2016 – namely Minority Report and the recently-canned 24: Legacy – Fox’s horror anthology series struck a chord with audiences and even managed to maintain a relatively healthy threshold of two million viewers per episode. Even after all these years, it turns out there’s still an appetite for William Friedkin’s film classic of ’73.

And so, to strike while the iron was hot, Fox quickly ordered a second season of The Exorcist, which is now expected to loom over the small screen on Friday, September 29th. As previously reported, the Rance family won’t be returning, meaning that Geena Davis, Hannah Kasulka, Brianne Howey, and Alan Ruck have parted ways with the series – for now, at least.

Gone but not forgotten? According to series creator Jeremy Slater, there’s still a small chance that the Rances will make an appearance somewhere down the line.

“A potential season two would find Marcus, Tomas and Bennett tasked with helping a new family or a new case of possession,” he shared with us ahead of the renewal.

“Our challenge now is to create a new family that you care about just as much as the Rances, and to find ways to make their story feel just as compelling and unique as what came before. That doesn’t mean we’ll never see any of the Rances again.

Ready for another season of supernatural thrills and spills? The Exorcist anthology series returns via Fox on Friday, September 29th, at 9:00-10:00 pm Et/Pt. The Gifted, on the other hand, begins its mutant family saga on Monday, October 2nd. »

- Michael Briers

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Tamed Aliens, Harmonic Nuns and a Leather Catsuit: Strange Tales from 1992’s Summer of Cinema

23 June 2017 3:43 AM, PDT | HeyUGuys.co.uk | See recent HeyUGuys news »

Author: Cai Ross

The summer movie season of 1992 opened under a cloud; a dark cloud from the still-smouldering buildings that had burned to the ground during the La riots in April. Racial tension after the disastrous acquittal of Rodney King’s uniformed attackers had reached an all-time high and Hollywood appealed for calm.

Thus, in a touchingly bold demonstration of selfless generosity, Walter Hill’s unremarkable urban thriller, The Looters, was hastily withdrawn and held back until Christmas, re-christened Trespass (memorably starring two Bills – Paxton and Sadler – and a pair of Ices – T and Cube). Elsewhere, it was business as usual.

The Rodney King affair was briefly alluded to in Lethal Weapon 3, the second-biggest hit of the summer and one of only a handful of ‘sure things’ on the menu. Though there were mutterings about the dominance of sequels in the summer movie season, there were weird things afoot in most of the other returnees. Aside from Lethal Weapon 3 – which was essentially a watered down Lethal Weapon 2 with too much added Joe Pesci – the rest of the sequels veered off into strange tangents, with varying results.

Alien 3, for example strayed dangerously far from the template set down by the first two classics. Bravely, it has to be said, David Fincher tried to create a quasi-religious epic, following Scott’s horror movie and Cameron’s war film. Latterly, Fincher’s frustrations and behind-the-scenes interferences became legendary, but audiences didn’t click with his compromised vision and it became the first in a long line of Alien movies to fall a bit flat.

Another major sequel, Honey, I Blew Up The Baby was in fact the complete opposite of 1989’s Honey, I Shrunk The Kids, culminating in the spectacle of a 99 foot toddler stomping through Las Vegas. It was directed without enthusiasm by Grease director Randal Kleiser, reminding audiences once again why no one remembers who directed Grease.

It wasn’t just sequels that dared to be different. One of the strangest mainstream offerings of the year was Robert Zemeckis’s black comedy, Death Becomes Her, which might have been a delicious satire on America’s vain obsession with cosmetic surgery if only Bruce Willis had stopped shouting at everyone like he was trying to prevent a plane crash.

Back in the ‘90s, much more so than today, comedies were a vital part of the summer success story – an inexpensive sop for the grown-ups while their teenage kids watched things explode in Screen 7. There were high hopes for Steve Martin and Goldie Hawn’s Housesitter, which was only a medium-sized hit, despite the bit where Steve Martin sings ‘Tura Lura Lura’ to his dad, and the other bit when his falls over his couch.

Boomerang was a bigger hit and restored some credibility to Eddie Murphy’s career after the crippling one-two punches of Harlem Nights and Another 48 Hours. It was also responsible for one of the great ironic ‘First Dance At a Wedding’ songs, Boys II Men’s The End of The Road.

Nicolas Cage embarked on a three year long career as a romantic comedy star with the rather wonderful Honeymoon in Vegas, famed for its skydiving Elvis finale. Tom Hanks and his Big director Penny Marshall reteamed to great success with wartime baseball comedy A League of Their Own, which also saw Geena Davis giving a star performance and Madonna giving a bearable one. “There’s no crying in baseball!!!” was probably the most quoted line of the summer.

As with City Slickers in 1991, comedy provided the biggest sleeper hit of the summer: Sister Act, with Whoopi Goldberg excelling as a murder witness hiding out in a convent. As with City Slickers, an unwise sequel was hastily made and hastily forgotten. The original though, was the sixth biggest film of the year and is still going strong as a west-end show to this day.

It wasn’t just the many and varied comic tastes of adults that were appeased; semi-literate young people were also provided for by Encino Man (or California Man as we knew it, since we don’t know where Encino is. It’s in California). Noted for Brendan Fraser’s first stab at the big time, this grungy caveman caper will be of interest to young contemporary archeologists keen to investigate who or what Pauly Shore was.

Teenagers were also palmed off with a silly-sounding comedy called Buffy The Vampire Slayer, written by first-time screenwriter Joss Whedon. Starring Kristy Swanson as the eponymous heroine, but marketed as a vehicle for Beverly Hills 90210 heart-throb Luke Perry, the producers had hoped for a chunk of the Bill & Ted audience that Encino Man hadn’t swallowed up. Sadly, they had to make do with a long-running spin-off television show regularly cited as one of the greatest ever made. Gnarly.

The stalking killer thriller phenomenon that started with The Silence of The Lambs and Cape Fear echoed into 1992 with solid hits like Unlawful Entry and Single White Female. Even Patriot Games – a sort-of sequel to The Hunt For Red October with Harrison Ford rebooting Alec Baldwin’s Jack Ryan – for all its CIA espionage and partial understanding of “The Troubles” in Northern Ireland, was basically a slasher movie, with Sean Bean doing to Harrison Ford what Robert De Niro had done to Nick Nolte the year before. (Sean Bean dies, obviously).

Crimes against the Emerald Isle weren’t restricted to the gratuitous amounts of Clannad in Patriot Games. Tom Cruise’s Irish accent in Ron Howard’s Far and Away was the benchmark for all bad Irish accents until Brad Pitt graciously took the relay baton in The Devil’s Own. The film, shot in glorious 70mm was the biggest risk of the summer and proved to be the dampest squib, considering the star power of Cruise and (then-wife) Nicole Kidman. Despite looking ravishing, the script had all the depth of a bottle-cap.  It desperately wanted to be a timeless classic in the David Lean tradition but held up against Unforgiven, which was released in August, Far & Away was shown up as the glorified Cbbc TV special it was.

Unforgiven came out of nowhere. Clint Eastwood’s previous movie, The Rookie, was somehow even worse than 1989’s Pink Cadillac. However, he’d been sitting on David Webb Peoples’ script for years until he was finally old enough to play William Munny. An extraordinary, mature and masterful critique of Western mythology, Unforgiven was hailed as Eastwood’s best work from the get-go, took the summer’s number five spot and would later win a handful of Oscars, including Pest Picture.

So who was the box office champion of Summer ’92? Well, that question was never in any doubt. Tim Burton’s Batman was the cultural phenomenon of 1989, redefining the parameters of box office limitations and merchandise licensing in a way not seen since Star Wars. Speculation as to who Batman would fight next and who would play him/her began immediately. Dustin Hoffman was touted to play The Penguin and Annette Bening was actually cast as Catwoman, before pregnancy forced her to drop out.

On the 19th of June, all was revealed when Batman Returns opened to a spectacular $45m weekend, $5m more than the original. Michael Keaton returned as The Caped Crusader (having split up with the creditably tight-lipped Vicki Vale), while not one but three villains put up their dukes. Danny DeVito played the Penguin as a deformed, subterranean leader of a gang of circus act drop-outs. Michelle Pfeiffer as Catwoman (perhaps her signature role) was transformed from a clumsy secretary into a vengeful whip-wielding dominatrix. Christopher Walken borrowed ‘DocEmmett Brown’s hair to play new villain, Max Shreck.

Despite the enormous opening weekend, things took a downward turn almost immediately. Audiences expecting more of the same were treated to a dark, nose-bitingly violent combination of German Expressionism, kinky S&M and oversized rubber ducks. The box office the following week dropped by 40%, and there was further controversy when McDonalds had to deal with the ire of horrified parents across America, ‘tricked’ by their Batman Returns Happy Meals into taking their kids to watch Burton’s deranged fairy tale, pussy jokes et al.

The backlash (against what is now considered a unique high-water mark in the superhero genre), meant that Batman Returns wound up making $100m less than its predecessor and it placed third for the year, behind Home Alone 2: Lost in New York, a film so determined to give its audience a familiar experience that it simply changed the first film’s screen directions from Int. Kevin’S House – Night to Ext. New York – Night and reshot the entire script. (The box office crown for the year was taken eventually by Disney’s Aladdin.)

Warner Bros. took evasive action, hiring Joel Schumacher to sweeten the mix, which would help to restore Batman’s fortunes in 1995, before everything, literally absolutely everything went wrong in 1997 and the world had to wait for Christopher Nolan to finish attending Ucl, become a director and save the Dark Knight from the resultant ignominy.

Hollywood was given a crash course in the perils of straying too far from a winning formula in the summer of ’92. Sadly, for a while at least, it learned its lesson.

The post Tamed Aliens, Harmonic Nuns and a Leather Catsuit: Strange Tales from 1992’s Summer of Cinema appeared first on HeyUGuys. »

- Cai Ross

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“The Exorcist” Returns to Fox This September

22 June 2017 11:39 AM, PDT | bloody-disgusting.com | See recent Bloody-Disgusting.com news »

Fox will continue their anthology series “The Exorcist” on Friday, Sept. 29, 2017 (9:00-10:00 Pm Et/Pt), Bloody Disgusting learned. As previously noted, Season 1 stars Geena Davis, Hannah Kasulka, Brianne Howey and Alan Ruck will Not be coming back. This comes as no real surprise, our own John Squires notes, as Season 1 seemed to completely […] »

- Brad Miska

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Fox’s The Exorcist Season 2 Premiere to Air on Friday, September 29th

22 June 2017 11:33 AM, PDT | DailyDead | See recent DailyDead news »

Fans of The Exorcist series can now mark their calendars for Friday, September 29th, because that is when the second season will premiere on Fox at 9:00pm Et, and viewers looking to tune in for the third season premiere of Lucifer also have a date to look forward to.

Fox announced that Lucifer Season 3 will premiere on Monday, October 2nd, just a few days after The Exorcist Season 2 premieres, and genre fans will also want to keep an eye out for the Sunday, October 1st (at 8:30pm Et) series premiere of Ghosted, starring Craig Robinson and Adam Scott.

An official plot synopsis for season 2 of The Exorcist has yet to be revealed, although it was recently reported that Alfonso Herrera, Kurt Egyiawan and Ben Daniels—who all play priests on the series—will return as series regulars in season 2, while the actors who played the members of the Rance family—Geena Davis, Alan Ruck, Hannah Kasulka and Brianne Howey—will not be coming back in a series regular capacity, as a different exorcism is expected to take the spotlight this time around.

Stay tuned to Daily Dead for more updates, read the official press release below for more details, and if you need to catch up on The Exorcist before season 2 airs, Hulu is currently streaming the entire first season.

Press Release: Fox has set the fall premiere dates for its new and returning series.

The Gifted, the new family adventure series, produced in association with Marvel Television, launches Monday, Oct. 2 (9:00-10:00 Pm Et/Pt), following the return of Lucifer (8:00-9:00 Pm Et/Pt). New comedic drama The Orville, from creator and executive producer Seth MacFarlane and director Jon Favreau, debuts with a special two-night series premiere on Sunday, Sept. 10 (8:00-9:00 Pm Et/Pt) and Sunday, Sept. 17 (8:00-9:00 Pm Et/Pt), immediately following NFL On Fox doubleheaders. The Orville will then make its time period premiere on Thursday, Sept. 28(9:00-10:00 Pm Et/Pt), following Gotham’s Season Four return (8:00-9:00 Pm Et/Pt). The new buddy comedy Ghosted, starring Craig Robinson and Adam Scott, premieres Oct. 1 (8:30-9:00 Pm Et/Pt), during a Sunday night of premieres, including Bob’S Burgers (7:30-8:00 Pm Et/Pt), The Simpsons (8:00-8:30 Pm Et/Pt), Family Guy (9:00-9:30 Pm Et/Pt) and The Last Man On Earth (9:30-10:00 Pm Et/Pt).

Fox Fall 2017 Premiere Dates – Page 2

Lethal Weapon Season Two leads off Tuesdays, beginning Sept. 26 (8:00-9:00 Pm Et/Pt), followed by the season premieres of The Mick (9:00-9:30 Pm Et/Pt) and Brooklyn Nine-nine (9:30-10:00 Pm Et/Pt). Empire (8:00-9:00 Pm Et/Pt) and Star (9:00-10:00 Pm Et/Pt) join forces on an epic night of music and drama, beginning Wednesday, Sept. 27. Friday, Sept. 29 sees the returns of Hell’S Kitchen (8:00-9:00 Pm Et/Pt) and The Exorcist (9:00-10:00 Pm Et/Pt).

Fox fall premieres of new and returning series are listed below in chronological order (all times are Et/Pt):

Fox Fall 2017 Premieres

(All Times Et/Pt)

Sunday, Sept. 10, Immediately Following NFL On Fox Doubleheader

8:00-9:00 Pm Et/Pt               The Orville (Special Series Premiere, Part 1)

Sunday, Sept. 17, Immediately Following NFL On Fox Doubleheader

8:00-9:00 Pm Et/Pt               The Orville (Special Series Premiere, Part 2)

Tuesday, Sept. 26

8:00-9:00 Pm                          Lethal Weapon (Season Two Premiere)

9:00-9:30 Pm                          The Mick (Season Two Premiere)

9:30-10:00 Pm                        Brooklyn Nine-nine (Season Five Premiere)

Wednesday, Sept. 27

8:00-9:00 Pm                          Empire (Season Four Premiere)

9:00-10:00 Pm                        Star (Season Two Premiere)

Thursday, Sept. 28

8:00-9:00 Pm                          Gotham (Season Four Premiere)

9:00-10:00 Pm                        The Orville (Time Period Series Premiere) 

Friday, Sept. 29

8:00-9:00 Pm                          Hell’S Kitchen (Season 17 Premiere)

9:00-10:00 Pm                        The Exorcist (Season Two Premiere)

Sunday, Oct. 1

7:30-8:00 Pm                          Bob’S Burgers (Season Eight Premiere)

8:00-8:30 Pm                          The Simpsons (Season 29 Premiere)

8:30-9:00 Pm                          Ghosted (Series Premiere)

9:00-9:30 Pm                          Family Guy (Season 15 Premiere)

9:30-10:00 Pm                        The Last Man On Earth (Season Four Premiere)

Monday, Oct. 2

8:00-9:00 Pm                          Lucifer (Season Three Premiere)

9:00-10:00 Pm                        The Gifted (Series Premiere)

The post Fox’s The Exorcist Season 2 Premiere to Air on Friday, September 29th appeared first on Daily Dead. »

- Derek Anderson

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Geena Davis-Backed Common Sense Media Introduces New Gender Equality Rating

21 June 2017 11:28 AM, PDT | Indiewire | See recent Indiewire news »

“Fun Home” author Alison Bechdel coined the Bechdel Test over thirty years ago as a simple way to measure a story’s gender equity. The test is simple: Does a movie or TV show have more than two female characters who talk to each other about something other than a man? Surprisingly few pass the bar, although things have been changing. Now, the nonprofit media watchdog group Common Sense Media has introduced their own test to determine whether or not a movie or TV show defies gender stereotypes.

“This matters because these rigid stereotypes are holding us back — politically, economically and socially,” reads a report released by Common Sense Media yesterday. “Gender stereotypes riddle our movies, TV shows, online videos, games, and more, telling our boys that it’s Ok to use aggression to solve problems and our girls that their self-worth is tied to their appearance.”

Read More: Paul Feig, Kimberly Peirce, and 50 Others Address Gender Inequality With Sweeping New Initiative

“Everyone I encountered in the industry tried to tell me it wasn’t a problem any more, that it had been fixed,” actress Geena Davis told the New York Times. Davis is an advisor on the project and founder of the Geena Davis Institute on Gender in Media. “Even people making these products are sure they’re gender-balanced when they’re profoundly not.”

The group already evaluates media in seven different categories: Positive messages, positive role models, violence, sex, language, consumerism and drinking, drugs and smoking. They will add an eighth metric to highlight positive gender representation.

Read More: Jessica Chastain Blasts Portrayal Of Women In This Year’s Cannes Films As ‘Quite Disturbing’

The rates of measurement are more subjective than the Bechdel Test, causing some complicated choices. Despite depictions of violence and drug use, “Moonlight” received the stamp of approval for its singular and nuanced exploration of black male sexuality. The Fox series “Bones” made the cut for showing women as scientists, while “Bridesmaids” did not. “There wasn’t necessarily an intent to push against gender stereotypes,” said Common Sense executive editor for ratings Betsy Bozdech.

For now, the ratings will mostly be used as a guide for parents who feel frustrated by Hollywood’s use of outdated gender roles. As Common Sense’s influence grows, the seal of approval may guide potential advertisers as well.

Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

Related storiesThe Onion Explains Why There Are So Few Women Directors in Hollywood -- WatchPaul Feig, Kimberly Peirce, and 50 Others Address Gender Inequality With Sweeping New InitiativeMale Movie Stars Get Almost Twice as Much Screen Time: Report »

- Jude Dry

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Laff 2017 Women Directors: Meet Jennifer Arnold — “Fat Camp”

20 June 2017 7:01 AM, PDT | Women and Hollywood | See recent Women and Hollywood news »

Fat Camp

Jennifer Arnold is an Emmy-nominated director whose credits include documentaries “A Small Act,” “The Diplomat,” and “Tig.” She’s been an advisor at Outfest, Film Independent, Women in Film, the Sundance Documentary labs, and Cnex workshops. Also a Fox Global Directors Initiative participant, Arnold will shoot a short film for Fox this year and will take part in Ryan Murphy’s television directing program. “Fat Camp” marks Arnold’s new focus on fictive work.

Fat Camp” will premiere at the 2017 La Film Festival on June 21. It will air on Bet this July.

W&H: Describe the film for us in your own words.

Ja: “Fat Camp” is an update of the raunchy teen camp film — irreverent, fun, and, ultimately, about growing up.

W&H: What drew you to this story?

Ja: I’m best known for my documentary feature “A Small Act,” which is a film I’m incredibly proud of. Though not schmaltzy, “A Small Act” is full of hope. I love “A Small Act,” and I love hopeful films.

But I’m also a fan of films like “Bridesmaids,” “9 to 5,” and “Superbad” — stories with broad comedy that are grounded by real characters struggling with real issues. I’d been wanting to direct fiction, and I laughed out loud while reading this script.

Screenwriter Chuck Hayward is a comic god. I was lured in by Chuck’s sick and twisted jokes, and I stuck around for the opportunity to direct something totally different.

W&H: What do you want people to think about when they are leaving the theater?

Ja: There’s some real stuff in this movie: body issue stuff, gender stuff, self-hatred/self-love stuff, sexuality stuff. We tried to break stereotypes and expectations with this project. I hope people think about all of that at some point.

But, when people are leaving the theater, I just want them to have a smile on their faces. I want people to have laughed.

W&H: What was the biggest challenge in making the film?

Ja: This whole film was challenging — seriously challenging. Some films get lucky; this one was uphill the whole way.

Films like “Bridesmaids” are studio movies with bigger budgets, longer schedules, and locations that — most likely — match those described in the script. These were luxuries not always afforded to “Fat Camp.” We struggled with practically every element of our shoot.

I also fought to put actual teenagers on screen. There are no twenty-somethings passing for pubescents in “Fat Camp.” In its own way, this was also challenging. I mixed newbies with seasoned actors. I asked teens — who were going through their own body issues and growing pains — to put their personal experiences on screen. But, in another way, it proved magical. This was a scrappy, rag-tag group that bonded into a family.

W&H: How did you get your film funded? Share some insights into how you got the film made.

Ja: I’ve known Valerie Stadler for long time. She’s at Fluency, which is part of NBCUniversal Telemundo Enterprises. Fluency funded the movie. Though I’ve had to fundraise in the past, I was a director for hire in this case.

W&H: What does it mean for you to have your film play at the Laff?

Ja: Laff is the festival for this film. “Fat Camp” takes place in La, it represents La’s diversity, and it also deals with body image. So much of La is about body image.

I’m an alumni of Film Independent’s labs and Fast Track program. I’ve been a mentor for Find. I’ve been in the festival before, and they’ve supported my previous work.

Film Independent and Laff are family, so premiering here is like coming home. It means a lot to be here.

W&H: What’s the best and worst advice you’ve received?

Ja: Best advice: Take the meeting like you already have the job.

Worse advice: I don’t know if this is advice per say, but there’s a lot of people in town who believe in “rules.” They believe that documentary samples can’t get you narrative work; you can’t book episodic if you’ve never directed TV before; you’ll never make that film without such and such [big name] actor. These “rules” go on and on.

I understand these are norms, but they aren’t rules. I mean, “Moonlight” just won Best Picture. So, while I believe that a film has to make financial sense for people to get on board, I also believe in thinking outside the norms.

I guess I’m trying to say be smart — but don’t always believe the advice you get. Sometimes, you just have to will things into being.

W&H: What advice do you have for other female directors?

Ja: Never give up. Make your own breaks. Be thankful for every opportunity. Don’t be bitter. Have some fun.

Finally, when you get power, use it to bring the next person up.

W&H: Name your favorite woman-directed film and why.

Ja: At the moment, I’m pretty obsessed with Maren Ade’s “Toni Erdmann.” It is human, thoughtful, painful, funny, and outrageous. It’s also very surprising. It is a slow burn, and it’s so worth it. One of the best films I’ve seen in years.

It’s a German film being remade here in the Unite States. Dear people remaking “Toni Erdmann,” please do not mess up!

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

Ja: I’m hopeful. I think the numbers will change because we’ve got some real leaders making sure they will change.

Look at Ava DuVernay, the “Queen Sugar” team, and who they are getting to direct that show. Look at Ryan Murphy and his commitment to hire 50 percent women to direct. Amazon is doing the same — or that’s what I’ve been hearing. Sundance, Women in Film, the Geena Davis Institute, and many others are gathering hard data to keep pushing the issue.

It will tip. There’s been a lot of lip service over the years, but there’s more momentum now. I have faith. Maybe the numbers won’t change overnight, but people are putting cracks in that ceiling — that’s for sure.

Laff 2017 Women Directors: Meet Jennifer Arnold — “Fat Camp” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Kelsey Moore

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20 New Movies That Will Define This Year in Indie Cinema, From ‘The Big Sick’ to ‘A Ghost Story’

14 June 2017 7:30 AM, PDT | Indiewire | See recent Indiewire news »

This month’s BAMcinemaFest isn’t just for New York cinephiles, as the annual festival routinely rolls out a slate that includes the year’s best indie offerings, giving many of them a major boost before they roll out theatrical runs. This year is no different, as the Brooklyn-based event will play home to a slew of festival favorites, including a hefty dose of Sundance’s buzziest titles and some big-time SXSW winners and everything in between, most of them bound for a release in a theater (hopefully) near you.

Read More: Richard Linklater’s ‘The Last Detail’ Sequel ‘Last Flag Flying’ to Open New York Film Festival

As we look ahead to the rest of the year in indie cinema, these 20 titles stand out as some of the best and the brightest still left on the calendar. Fortunately, we’ve got plenty of information on each of them to satiate you. »

- Kate Erbland and Eric Kohn

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The Exorcist Is Returning For Another Season, But Geena Davis Isn’t

9 June 2017 11:06 AM, PDT | We Got This Covered | See recent We Got This Covered news »

Fox had an unexpected hit on their hands with the first season of The Exorcist, picking up a smattering of positive critical notices and decent ratings. So, it’s no surprise that they renewed it for a second season. The show is a loose sequel to the 1973 William Friedkin movie classic, following a trio of Exorcist priests, with the first season exploring what happened to formerly possessed puker Regan MacNeil over the last forty or so years.

In an eye-catching bit of casting, Geena Davis was brought on board as MacNeil and was generally agreed to be one of the best things in the series. That makes it a little disappointing then that she’s confirmed that she’s departing the show. Rather than re-cast the role, executive producer and director Jeremy Slater has simply decided to focus the second season narrative elsewhere.

This means, apparently, not just jettisoning Davis’ character, »

- David James

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The Exorcist: Season Two; Who's Not Returning to the Fox Series

7 June 2017 6:15 PM, PDT | TVSeriesFinale.com | See recent TVSeriesFinale news »

What's next for The Exorcist? According to TVLine, some cast members will not return for season two of the Fox TV series.Based on the 1973 horror film, the drama follows two priests as they try and tackle a horrifying demonic possession. The cast includes Alfonso Herrera, Ben Daniels, Kurt Egyiawan, Geena Davis, Alan Ruck, Brianne Howey, and Hannah Kasulka.Read More… »

- TVSeriesFinale.com

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Update on the Cast for Season 2 of Fox’s The Exorcist TV Series

7 June 2017 10:54 AM, PDT | DailyDead | See recent DailyDead news »

Back in May, fans of Fox's The Exorcist TV series rejoiced when the network announced that the series would be returning for a second season, but according to the latest casting details, there will be some big changes in the show moving forward.

According to TVLine, while Alfonso Herrera, Kurt Egyiawan and Ben Daniels—who all play priests on the series—will return as series regulars in season 2 of The Exorcist, the actors who played the members of the Rance family—Geena Davis, Alan Ruck, Hannah Kasulka and Brianne Howey—will not be coming back in a series regular capacity, as a different exorcism is expected to take the spotlight this time around.

A family plagued by demonic possession, the Rances were the primary focus of the priests in season 1, but season 2 will explore "a new storyline," as showrunner Jeremy Slater mentioned to Deadline in late 2016, adding that it "doesn »

- Derek Anderson

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The Exorcist Season 2 Cast Shakeup: Who's In? Who's Out?

7 June 2017 9:35 AM, PDT | TVLine.com | See recent TVLine.com news »

This is bound to turn a few heads (that lede never gets old!).

Roughly a month after The Exorcist‘s surprise renewal, Fox has put the finishing touches on the official Season 2 cast list — and there are a few notable (if not entirely unexpected) omissions.

Related2017 Renewal Scorecard: What’s Coming Back? What’s Getting Cancelled? What’s on the Bubble?

The priestly trio of Alfonso Herrera, Kurt Egyiawan and Ben Daniels will all be back as series regulars, but they will be presiding over a new possession case. As a result, Geena Davis, Alan Ruck, Hannah Kasulka and Brianne Howey »

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Christopher McDonald, Katie Aselton Duplass, Johnny Simmons Star in Horror Comedy ‘Deep Murder’ (Exclusive)

5 June 2017 6:12 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Christopher McDonald, Katie Aselton Duplass, Johnny Simmons and Stephanie Drake will star in “Deep Murder,” Variety has learned.

The horror comedy is set inside the world of soft core pornography. It follows a group of adult film stars and filmmakers who start getting picked off by a killer. According to the logline the characters originally come off as sex-obsessed archetypes but begin to evolve from cliches into real people as they are forced to figure out how to survive.

McDonald is best known for playing Shooter McGavin in “Happy Gilmore.” He’s had a string of memorable character roles in such films as “Thelma & Louise” as Geena Davis’ caddish husband and most recently appeared on HBO’s “Ballers.” Aselton Duplass wrote and starred in “The Freebie” and appeared in FX’s “The League.” She most recently appeared in the comic book drama “Legion,” another FX series that scored strong reviews in its inaugural season. »

- Brent Lang

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Ted Sarandos Snubbed by Academy and More Details From the Board of Governors Candidates

2 June 2017 4:11 PM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

Earlier today, the Academy sent an email to all members with the final list of Board of Governors candidates. Conspicuously absent is Netflix CEO and Ted Sarandos, who hosted a recent Academy museum fundraiser and was hoping to get a chance to run for the board. 

Also absent is Cheryl Boone Isaacs, the current president of AMPAS, who’s stepping down this August and not seeking a third three-year term on the 54-member board. You have to be on the board in order to run for President. Others no longer in the running are Sony Pictures Classics and CBS Films executives Michael Barker and Terry Press, producer Paula Wagner, director Brett Ratner and actors Queen Latifah and Lou Diamond Phillips. Actress Laura Dern is one current board member who is backed by Academy CEO Dawn Hudson and gaining support.

The final election begins Monday, June 19 and closes on Friday, June »

- Anne Thompson

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Ted Sarandos Snubbed by Academy and More Details From the Board of Governors Candidates

2 June 2017 4:11 PM, PDT | Indiewire | See recent Indiewire news »

Earlier today, the Academy sent an email to all members with the final list of Board of Governors candidates. Conspicuously absent is Netflix CEO and Ted Sarandos, who hosted a recent Academy museum fundraiser and was hoping to get a chance to run for the board. 

Also absent is Cheryl Boone Isaacs, the current president of AMPAS, who’s stepping down this August and not seeking a third three-year term on the 54-member board. You have to be on the board in order to run for President. Others no longer in the running are Sony Pictures Classics and CBS Films executives Michael Barker and Terry Press, producer Paula Wagner, director Brett Ratner and actors Queen Latifah and Lou Diamond Phillips. Actress Laura Dern is one current board member who is backed by Academy CEO Dawn Hudson and gaining support.

The final election begins Monday, June 19 and closes on Friday, June »

- Anne Thompson

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Whoopi Goldberg, Morgan Spurlock, Jason Blum Among Academy Candidates for Board of Governors Election

2 June 2017 3:29 PM, PDT | Variety - Film News | See recent Variety - Film News news »

The Academy of Motion Picture Arts and Sciences announced on Friday the list of candidates for this year’s Board of Governors election, which begins Monday, June 19.

In the actors branch, Geena Davis, Whoopi Goldberg, Edward James Olmos and Rita Wilson will all be vying for a spot on the board. Meanwhile, two directors branch candidates surfaced: Kimberly Peirce (“Boys Don’t Cry”) and Donald M. Petrie (“Welcome to Mooseport”). »

- Kristopher Tapley

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Whoopi Goldberg, Geena Davis Make the Cut in Oscars’ Election, But Ted Sarandos Doesn’t

2 June 2017 2:39 PM, PDT | The Wrap | See recent The Wrap news »

Geena Davis, Whoopi Goldberg, Morgan Spurlock, Michael De Luca, Ed Catmull and John Ridley are among the Academy members who have made the final ballot for the Academy of Motion Picture Arts and Sciences’ Board of Governors, the Academy informed its members on Friday in an email. Also in the running are Hawk Koch and Rob Friedman, who are expected to contend for the job of Academy president when Cheryl Boone Isaacs finishes her last term in August. Rita Wilson is in the running for a seat representing the Actors Branch; if elected, she will join her husband Tom Hanks as. »

- Steve Pond

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Sundance London: Majorie Prime review: Dir. Michael Almereyda (2017)

2 June 2017 5:35 AM, PDT | The Hollywood News | See recent The Hollywood News news »

Marjorie Prime review: Michael Almereyda brings his latest, a slightly sci-fi drama to the UK via the 2017 Sundance London film festival.

Marjorie Prime review by Paul Heath at the 2017 Sundance London film festival.

Marjorie Prime review

Marjorie Prime is an interesting, futuristic, very original sci-fi drama from American filmmaker Michael Almereyda (Experimenter, Hamlet) essentially set in one location – a coastal property, home to the Majorie (Lois Smith) of the title, a windowed 80-year-old woman living with her daughter Tess (Geena Davis) and son-in-law Jon (Tim Robbins). Jon has subscribed to a service which provides holograms of deceased relatives, and he has installed one such hologram of Marjorie’s former husband Walter – one which very much looks like Jon Hamm – at a time in his life when he was at his most handsome – and thus looks like Jon Hamm, complete with his stunning jawline and bone structure.

Related: The Incredible Jessica »

- Paul Heath

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