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Will Wolverine Ever Cross Over Into The McU? Hugh Jackman Shares His Thoughts

Day by day, we’re beginning to form a clearer understanding of the potential Disney/Fox merger and, crucially, what it’ll mean for the McU going forward.

Marvel Studios boss Kevin Feige is reportedly keen to gain access to the X-Men and “cross-pollinate” its character roster with that of the Marvel Cinematic Universe, which has fueled rumors that Disney‘s pursuit of 21st Century Fox will leave the door open for Hugh Jackman to don the adamantium claws once again.

It’s a crossover that has been rumored for the best part of 20 years, and one that gained a tremendous boost after Marvel and Sony decided to incorporate Spider-Man into the McU. But if Disney closes its landmark deal and assumes control of Fox’s entertainment assets, a Wolverine cameo in the Marvel franchise isn’t necessarily out of the question – it’ll merely involve an actor other than Hugh Jackman.
See full article at We Got This Covered »

High Quality Justice League Post-Credits Scene Confirms Sequel’s Villains

Day by day, we’re beginning to form a better understanding of Justice League‘s post-credits scenes – and yes, that’s scenes plural – no thanks to the slew of spoilers leaking onto the interwebs.

For those who aren’t all that fussed by spoiler-sensitive material, Christmas has come early, as the past 24 hours have uncovered countless revelations about Justice League, Joss Whedon’s contribution, and the definitive answer regarding Green Lantern’s alleged involvement – or lack thereof.

But this newly-unveiled bootleg recording takes the biscuit. First posted to Reddit (watch here), it’s essentially the full, high-res version of yesterday’s leak, in which Jesse Eisenberg’s Lex Luthor broached the idea of a supervillain team-up with Slade Wilson, the hardened mercenary otherwise known as Deathstroke. Sporting an eye patch and a rather badass, gravely voice, Joe Manganiello certainly looks the part as Batman’s nemesis, and this super-secret meeting
See full article at We Got This Covered »

Megan Fox Opens Up About Being Fired From ‘Transformers:' 'I Really Thought I was Joan of Arc'

Megan Fox Opens Up About Being Fired From ‘Transformers:' 'I Really Thought I was Joan of Arc'
Megan Fox has seemingly been out of the spotlight in recent years, but is stepping back in, gracing the cover of this month’s issue of UK Cosmopolitan.

Once as hot as you can get in Hollywood, a "low point" in her career came in 2009 when she was unceremoniously fired from the cast of Transformers 3 after saying director Michael Bay wanted “to be like Hitler on his sets”.

When talking about the incident in a 2011 interview with GQ, Bay reveled that producer Steven Spielberg had told him to fire Fox after hearing about the Hitler comparison. Spielberg later denied that claim.

More: Brian Austin Green Says He and Megan Fox Take Relationship 'Day by Day': 'Marriage Is Hard'

Encountering controversy at such a young age, Fox admits that she lacked the wisdom to deal with it appropriately and instead thought of herself as a martyr.

“That was absolutely the low point of my career,” Fox told Cosmo
See full article at Entertainment Tonight »

New 'Raven's Home' Trailer Is Here -- Watch!

New 'Raven's Home' Trailer Is Here -- Watch!
Raven's Home just keeps getting better and better.

A new trailer for the Disney Channel series was released on Friday, complete with all the Raven shenanigans we know and love -- and a few other hijinks.

Exclusive: Raven-Symone Is Back and Better Than Ever​ in First Look of 'Raven's Home'​

"I'm Raven and this is my home. These are my twin babies, Booker and Mia, and things have gotten even crazier since my best friend, Chelsea, and her kid, Levi, moved in," Raven (Raven-Symone) narrates in the trailer, which features Anneliese Van der Pol, Isaac Ryan Brown, Navia Robinson, Jason Maybaum and Sky Katz. "Then there's Tess. She lives next door, but that doesn't stop her from acting like she owns the place."

"Day by day, drama by drama, dance party by dance party, we're doing our best to get by and get along. Sure, I can see the future, but I never
See full article at Entertainment Tonight »

Cannes 2017 Women Directors: Meet Cecilia Atan and Valeria Pivato — “The Desert Bride”

“The Desert Bride”

Cecilia Atan’s documentary series “Madres de Plaza de Mayo, la Historia” was nominated for the International Emmy Awards. “The Sea,” her first short film, screened at the Cannes Short Film Corner in 2012. “The Desert Bride” is her first fiction feature film.

Valeria Pivato has worked as an assistant director, script supervisor, and casting director. In 2013, she won the Patagonik International Screenwriters Competition for “Before and After… and After Again.” “The Desert Bride” is also her first fiction feature film.

“The Desert Bride” (“La Novia del desierto”) will premiere at the 2017 Cannes Film Festival on May 25.

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

CA&VP: “The Desert Bride” is the story of Teresa, a 54-year-old woman who has worked for decades as a live-in maid in Buenos Aires. When the family sells the house, she is forced to take a job in the distant town of San Juan. Although uncomfortable with traveling, she embarks on a journey through the desert.

During her ­first stop, in the land of the miraculous Saint Correa, she loses her bag with all her belongings. This unexpected incident leads her to cross paths with El Gringo, a traveling salesman and the only one who can help Teresa ­find her bag. What seemed like the end of her world will ultimately prove her salvation.

W&H: What drew you to this story?

CA&VP: “The Desert Bride’s” script was born about five years ago. We wanted to explore the feminine world from a particular perspective: a woman whose life changes suddenly, at an age when reinventing herself does not seem possible in the world of today.

Live-in maids in Latin America work decades for families, but they are certainly not part of them. Teresa, our protagonist, is a woman who has dedicated her life to caring for a family and has not taken care of herself. She spent years refugee in her routine and in everything that is known to her.

The abrupt change of circumstances forces her to take a leap that she wouldn’t otherwise; this is the beginning of a new life.

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

CA&VP: We hope that the audience jumps into the story and makes this journey with Teresa, and that they apply the transformation of the character to their own lives. We want them to forget about the real world for a while and return to it at the end of the film with an inspired smile.

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

CA&VP: The film’s production model was not easy. Some creative aspirations weren’t exactly real possibilities, but every circumstance that seemed an obstacle slowly became a fortress.

A film is a living work, and transforming limitation into value is an important key of all creative processes. Each experience is unique, and we imagine that the next one will offer new obstacles that will become new strengths.

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

CA&VP: Because “The Desert Bride” was our first movie, it was not easy to get financing. We worked almost five years to complete the budget.

In 2015, we won the First Feature Film Fund from Incaa (The Argentinian National Institute of Cinema). Because our project is an organic co-production, as [Chilean actress] Paulina García is our main character, we also applied for and received support from the Chilean National Fund. Then, closer to the shooting, we received a very important push by the government of San Juan province, Argentina, where we shot 80 percent of the film.

But, it is important for us to note that our film is not only the result of official funds from Argentina and Chile. It was possible thanks to a lot of people who helped us make our dream come true.

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

CA&VP: Being in the Un Certain Regard section at Cannes marks the beginning of a new stage. We see it as a beautiful privilege and a projection of our future directorial careers.

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

CA&VP: The best advice came when we were discussing the film’s budget: “The worst movie is the one you haven’t made at all.”

We didn’t receive any terrible advice. From the beginning, we both tried to be as connected to the day-to-day process as possible. We wanted to make our own experience and learn lessons from inevitable obstacles.

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

CA&VP: The advice we would give a female director is the same that we would give a male director: Despite the bustle of making a movie, try to be true to yourself and never lose sight of the heart of your story.

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

CA&VP: One of the films that really touched us a couple of decades ago was Jane Campion’s “The Piano.” We were surprised by the relationship between the two main characters, how they meet each other and become closer in spite of their language and different cultures. All filmic elements — framing, light, art, costume, and music — gather to work as a perfect setting for this fine and subtle story.

We are very excited that she will be part of this year’s festival.

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.

CA&VP: The participation of women at Cannes this year is a clear example of the progress of women in the film industry. We are optimistic about it.

Day by day, roles that women occupy, both in front of and behind the camera, increase thanks to their tireless struggle.

Cannes 2017 Women Directors: Meet Cecilia Atan and Valeria Pivato — “The Desert Bride” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

‘Wicked’ Composer Stephen Schwartz Honored in Words and Song at Ascap Screen Music Awards

‘Wicked’ Composer Stephen Schwartz Honored in Words and Song at Ascap Screen Music Awards
Broadway and film composer Stephen Schwartz received the Founders Award of the American Society of Composers, Authors and Publishers (Ascap) at its annual Screen Music Awards Tuesday night at Los Angeles’ historic Wiltern Theatre.

The “Wicked” and “Prince of Egypt” songwriter was praised as “a genius” by fellow songwriter Paul Williams, president and board chairman of the performing-rights organization, citing such classic songs as “Day by Day” from “Godspell” and “Colors of the Wind” from “Pocahontas.”

Schwartz was serenaded by an eight-person chorus of younger Broadway songwriters who had been mentored by Schwartz over the years; they sang “For Good” from “Wicked.” Schwartz has served as artistic director for Ascap’s Musical Theatre workshop in New York and Los Angeles for more than 20 years.

Related

Stephen Schwartz: ‘Wicked’ Movie to Feature ‘at Least Two’ New Songs

Schwartz said Ascap “has always had my back as a songwriter, and has
See full article at Variety - Film News »

Ciarán Hinds Hints At The CGI Process Behind Steppenwolf Ahead Of Justice League

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Day by day, we’re beginning to form a clearer picture of Justice League, Zack Snyder’s long-awaited ensemble movie that’s due to cap off Warner’s superhero offerings for 2017 – after Wonder Woman makes her bow in June, of course.

With the finish line now firmly in sight, practically all of the film’s VFX shots have been completed – hence why the Powers That Be were able to cram in so many eye-popping action shots in the most recent Justice League trailer – just don’t hold your breath for Zack Snyder and Co. to announce the official runtime. One of the more complex elements of the superhero tentpole is Steppenwolf, the galactic menace to be played by Game of Thrones alum Ciarán Hinds. First teased at the tail-end of Batman V Superman, where Jesse Eisenberg
See full article at We Got This Covered »

Finding Dory’s Andrew Stanton Will Direct A Portion Of Stranger Things Season 2; Episode Titles Are Subject To Change

Day by day, we’re beginning to get a better sense of what to expect from Stranger Things season 2. There’s the Eggos, the ’80s references, along with a whole new breed of supernatural horror, which together form part of Matt and Ross Duffer’s strategy of balancing the old with the new.

Yes, as much as the Duffer Brothers and executive producer Shawn Levy would like to keep a lid on things, excitement for the show’s Halloween return has spread like wildfire since the unveiling of Sunday’s Super Bowl trailer, and already we’ve caught wind of some of the weird and wonderful fan theories to appear online. Behind the scenes, Levy and the Duffer Brothers will leverage directing duties between them, but that doesn’t mean the show’s creative trio can’t call on help from other filmmakers. Per EW, Rebecca Thomas (Electrick Children) has
See full article at We Got This Covered »

Central City All But Confirmed For Zack Snyder’s Justice League Movie

Day by day, we’re beginning to get a closer look at DC’s finest as they’ll appear in November’s Justice League movie. First we had the action shots of Jason Momoa’s Aquaman rising from the depths, before director Zack Snyder shifted the focus over to Ben Affleck’s Caped Crusader, with 3D renders and a conspicuous photo teasing the minor changes being made to that iconic Batsuit.

Next up, it’s the Flash’s turn to be placed under the spotlight – or, more specifically, the bustling metropolis he calls home. A seemingly innocuous Facebook post from the British Society of Cinematographers has confirmed that Central City, Barry Allen’s long-time stomping ground, will feature in Justice League after all.

First spotted by Comic Book, the image showcases cinematographer Fabian Wagner on set, and though a camera rig obscures the sign in the backdrop, it clearly reads Central City.
See full article at We Got This Covered »

Black Panther Flashback Will Reportedly Feature A Young T’Challa In The ’90s

Day by day, fans are beginning to get a better understanding of Ryan Coogler’s Black Panther solo movie. Of course, as the standalone pic makes its formative steps into production, much of the attention has been trained on the casting process – and rightly so, given the caliber of talent Marvel has been able to attract – but a new report from East Bay Times suggests that Coogler’s spinoff will harken back to T’Challa’s time in American education.

Citing a source within the California-based AC Transit public transportation agency, which has seemingly given Marvel Studios permission to use its old-school logo, Ebt claims that Black Panther will feature a flashback scene to 1990s America where Chadwick Boseman’s would-be king is attending Saint Mary’s College High School. All of this is yet to be confirmed, but given Coogler’s feature film is currently lensing in parts of Atlanta,
See full article at We Got This Covered »

Marrakech Jury President Bela Tarr: ‘Filmmaking is Like Hunting, You Have To Capture Life’

Marrakech Jury President Bela Tarr: ‘Filmmaking is Like Hunting, You Have To Capture Life’
Marrakech, Morocco — Following in the footsteps of Marrakech’s last three jury prexies – Martin Scorsese, Isabelle Huppert and Francis Ford Coppola – is no easy task. But iconoclastic Hungarian filmmaker, Bela Tarr, set a clear imprint on this year’s edition.

Viewed by many in his homeland as a dissenter, Tarr brought a distinctive Eastern European outlook to a fest that is paying tribute to Russian cinema, and whose career tributes and masterclasses include other outspoken filmmakers who have been dubbed as “trouble-makers” such as Pavel Lungin, Paul Verhoeven and Paul Haggis.

Tarr’s appointment as jury prexy was also a statement by the Marrakech Festival of its unswerving support for world cinema and in particular of distinctive auteur cinema.

Tarr has carved out a career of slow-paced art films, including “The Turin Horse,” “The Man from London,” and his seven-hour epic, “Satantango.”

After winning the Silver Bear at the Berlin
See full article at Variety - Film News »

Get The Lowdown On Battlefield 1’s Roster Of Launch Maps Ahead Of Release

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Day by day, we’re beginning to get a clearer picture of what to expect when Battlefield 1 touches down for PS4, Xbox One and PC late next month.

Yesterday, for example, brought word of the minimum and recommended system requirements you’ll need to run Dice’s wartime shooter on PC (spoilers: they’re fairly taxing), while the studio also took to its ever-active blog to detail the list of changes being added to BF1 in light of the recent beta test. As Dice rolls up its proverbial sleeves and braces for crunch time, the developer has now unveiled a detailed overview of the nine maps included in Battlefield 1 at launch.

Without question, Sinai Desert is the one arena that players will be immediately familiar come release, after it featured heavily during the release public beta – a public beta that
See full article at We Got This Covered »

Céline Dion Sings About 'Recovering' After Late Husband René Angélil's Death in Tearful New Song Written by Pink

  • PEOPLE.com
Céline Dion Sings About 'Recovering' After Late Husband René Angélil's Death in Tearful New Song Written by Pink
In July, Céline Dion revealed that she was working on a new album - and that one song penned by fellow Grammy winner Pink would pay tribute to her late husband René Angélil At the time, the 48-year-old singer said that fans should "get ready" for the emotional song. She wasn't kidding. The track - called "Recovering" - dropped Thursday, and one might want to have a box of tissues handy before listening. Dion's voice is restrained throughout the emotional ballad - accompanied only by a piano. Her voice quivers, and at times it sounds like she could cry at any moment.
See full article at PEOPLE.com »

Céline Dion Sings About 'Recovering' After Late Husband René Angélil's Death in Tearful New Song Written by Pink

  • PEOPLE.com
Céline Dion Sings About 'Recovering' After Late Husband René Angélil's Death in Tearful New Song Written by Pink
In July, Céline Dion revealed that she was working on a new album - and that one song penned by fellow Grammy winner Pink would pay tribute to her late husband René Angélil At the time, the 48-year-old singer said that fans should "get ready" for the emotional song. She wasn't kidding. The track - called "Recovering" - dropped Thursday, and one might want to have a box of tissues handy before listening. Dion's voice is restrained throughout the emotional ballad - accompanied only by a piano. Her voice quivers, and at times it sounds like she could cry at any moment.
See full article at PEOPLE.com »

Day for Night: "Arabian Nights" via "Out 1"

Out 1The late, great Jacques Rivette’s long-unseen serial Out 1 (1971) begins in a state of febrile convulsion, a seizure or shared hallucination, a frenzied, excruciating, hypnotic baptism of fire that reveals Rivette’s many-headed monster entering into being. Indistinguishable in a mass and huddle of contradicting limbs, this theatre troupe of performers – enchanted, ever-improvising movers and shakers – then pack their bags, tidy up, and leave one Parisian rehearsal space for another. Never too far away from each other in this 20-arrondissement Venn-diagram, and never inseparable, the circumstances of individual characters are slowly knitted together, first those of a character played by Juliet Berto, then one by Jean-Pierre Léaud. Individual narratives become interdependent, and Out 1 becomes a multi-plot film. Just as two theatre troupes use various imaginative, improvisational means to adapt two of Aeschylus’s Greek tragedies, Berto and Léaud’s two outliers approach and endlessly orbit some central conspiracy or secret underground society.
See full article at MUBI »

Here Alone Review [Tribeca 2016]

It’s a common misconception that horror movies can only be scary on a physical level. Take the zombie subgenre, for example. While zombies showcase horrifying, flesh-torn appearances, there’s just as much “unseen” horror to be found in Armageddon scenarios and the total societal breakdowns that their presence causes. Those changing environmental dynamics that characters deal with internally versus the the shambling, undead monsters who represent a more tangible enemy. Fear comes by way of choices that must be made, and in a film like Rod Blackhurst’s Here Alone, actual creatures play second fiddle to isolated, apocalyptic dread. “Zombies” attack, but decisions haunt – if you can stomach a more slow-burn aesthetic.

To be fair, David Ebeltoft’s script is not a straight-forward Romero take on zombie lore. It’s more a 28 Days Later viral thriller that follows a lone woman, Ann (Lucy Walters), as she tries to survive alone in the wilderness.
See full article at We Got This Covered »

'We can't write without quoting her': your tributes to Victoria Wood

Victoria Wood’s sad death from cancer led to an outpouring of love and the sharing of adored comedy lines all over the Guardian site

It’s been a bad year already for the loss of likeable celebrities, but the death of Victoria Wood at the age of 62 has led to an outpouring of love and affection across the Guardian. Lucy Mangan’s lovely tribute received hundreds of comments paying tribute to the comedian and actor.

“She was just one of us, like Rik Mayall was,” said Reggie Blue. “She understood the struggle and the minutiae of every day living.”

Lovely tribute. I remember first seeing her on TV when I was about ten and thinking - oh! She's like my mum. They let normal people on telly! It was important to me. And of course she was funny. Maybe there wouldn't be a Dinnerladies without Fawlty Towers but the
See full article at The Guardian - TV News »

William Friedkin Talks Diversity, Says Cinema Is “An Open Playing Field” & “Women Have To Put Themselves Forward”

Day by day, the chorus grows louder about the need for more women and people of color to have their stories told and let their voices be heard in Hollywood. For the most part, everyone agrees that progress needs to come more quickly, but how that will be achieved is still an open conversation. But at the very base level, there is an agreement that there's a problem that needs to be fixed. However, for director William Friedkin, he believes that meritocracy will see the best talent rise to the top, and as far as he’s concerned, Hollywood is both gender- and color-blind when it comes to hiring. In an extensive conversation with Cinephilia & Beyond, Friedkin shares his thoughts about women and minorities in the movies, and as far as he’s concerned, anyone who is willing to work hard will get ahead in Hollywood, regardless of gender or color.
See full article at The Playlist »

The new Hive advert: down with that kind of internet of things

It’s still yet to be explained why a world in which a computer controls your thermostat is great thing

Day by day, appliance by appliance, “the internet of things” – that utopian notion that one day all objects, people and data will be interconnected online – quietly works its way into our quotidian routines, the clicks and whirrs of gleaming automata replacing that gurgling noise your dad used to make when he couldn’t get the Vcr to stop blinking “00:01”. As Wired magazine and those Apple adverts where people dance to vintage soul in converted loft spaces keep cheerfully telling us, this march of progress into our homes should be regarded as a “good thing”. Yet surely I’m not alone in feeling utterly sodding terrified by the potential applications of this internet of things.

Take Hive, the app that allows you to remotely tweak the temperature of your home via your smartphone.
See full article at The Guardian - TV News »
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