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Few directors in the British film industry have shot to fame quite like Ben Wheatley. Having completed his directorial debut Down Terrace in a mere nine days, the idiosyncratic filmmaker continued his streak a year later with Kill List, followed by 2012’s jet-black comedy Sightseers, before releasing last year’s visceral A Field In England.
Now, for his latest feature film, Free Fire, Wheatley is upping the ante and bringing his eclectic style of filmmaking across the pond. In doing so, the director has also rounded up an impressive cast for the ‘70s-inspired crime drama, including Luke Evans, Olivia Wilde, Cillian Murphy, Armie Hammer and Michael Smiley — who has collaborated with Wheatley on three separate occasions.
Steeped in the rich lore of past hard-boiled movies, Wheatley spoke briefly about his inspiration for Free Fire.
“The idea for Free Fire came from my love of hard-boiled crime movies; from The Asphalt Jungle, »
- Michael Briers
"I just think he's so interesting and unique and I don't know anyone who makes movies like he does," Elisabeth Moss, who stars in Ben Wheatley's upcoming "High Rise," recently told us about the director, and we totally agree. Prolific and constantly shifting gears, it's always exciting to see what the filmmaker is cooking up, and this next bit of news is no different. Luke Evans, Armie Hammer, Cillian Murphy, Olivia Wilde, and Michael Smiley will star in Wheatley's "Free Fire." The film, which the director also wrote, is inspired by action movies he loves—"The Asphalt Jungle," "The Big Sleep," "The Killing," "The Big Combo, "The Driver," "Le Samourai," "The French Connection," "Goodfellas," "Casino," "Hard Boiled," "Reservoir Dogs," "The Getaway"—and is set in Boston 1978, following "Justine, a woman who has brokered a meeting in a »
- Kevin Jagernauth
The cast of the $10 million budget film, Wheatley’s first set in the U.S., will also feature Armie Hammer (“The Social Network,” “The Lone Ranger” and next year’s “The Man From U.N.C.L.E.”), Cillian Murphy (“Inception,” “Batman Begins”), Olivia Wilde (“Her,” “Rush”) and Wheatley regular Michael Smiley (“Kill List,” “Black Sea”) in a story about an arms deal that goes spectacularly wrong.
Andy Starke will produce for Starke and Wheatley’s Rook Films, whose recent production of Peter Strickland’s “The Duke of Burgundy” premiered at the Toronto Film Festival, with Film4 on board as one of the financiers. Casting is by Shaheen Baig. Production is scheduled for spring 2015.
Studiocanal, which has a long history with Wheatley, has acquired rights for the U. »
- Leo Barraclough
Ben Wheatley is to write and direct action film Free Fire, which is being launched for pre-sales at Afm (Nov 5-12) by Protagonist Pictures.
The $10m budget film - Wheatley’s first set in the Us - will star Luke Evans (Dracula Untold), Armie Hammer (The Social Network), Cillian Murphy (Inception), Olivia Wilde (Rush) and Wheatley regular Michael Smiley (Kill List), in a story about an arms deal which goes spectacularly wrong.
Production is scheduled for spring 2015 with the script likely to be among the hottest properties at the upcoming Afm.
StudioCanal has acquired rights for the UK. Domestic rights are repped by Wme.
The story is set in Boston in 1978. Wilde plays Justine, a woman who »
- email@example.com (Andreas Wiseman)
James Franco offers no explanation for this bizarre photo, but we've got some ideas.
The Teenage Mutant Ninja Turtles actress is seated on a bald and mustachioed Franco's lap, wearing a white, bloody gown that she has paired with a white boa. The outlandish actor apparently felt the best caption for such a creepy photo should read: "Megan Foxy is the best!"
Photos: Guess That Zombie!
Megan Foxy is the best!
A photo posted by James Franco (@jamesfrancotv) on Oct. 10, 2014 at 7:42 Pdt
Back in 2011, Fox, 28, and Franco, 36, teamed up for the environmental documentary Na Nai'a Legend of the Dolphins, but we're pretty sure this isn't a sequel to that doc. What seems more likely is that the two are shooting scenes for Franco's new 10-episode AOL series, Making a Scene »
For any actor, the chance to star in that of a Quentin Tarantino movie is the cinematic equivalent of striking gold. The writer/director, who shot to fame as the genius behind crime flick Reservoir Dogs in the early ’90s, is renowed for his ability to conjure up incredibly meaty and memorable characters, gifting actors with the opportunity to get their teeth into some of the best dialogue cues this side of a David Mamet play. As a result, competition for said roles is always fierce, with everybody in Hollywood attempting to get involved.
After all, Tarantino has created some of the best cinematic characters of all-time – characters that have worked their way into the public consciousness for being undeniably badass, evil, hilarious or just plain weird. Even the tiniest Tarantino character can create a huge, lasting impression, thanks to his ability to inject a movie’s supporting »
- Sam Hill
When Pulp Fiction opened in theaters 20 years ago today, the mainstream moviegoing audience was introduced to a dynamic new Hollywood talent. Quentin Tarantino was a 31-year-old hipster whose formal film education never rose much higher than working as a clerk in a Manhattan Beach video store. A walking encyclopedia of film history who fetishized some of the more obscure genres, Tarantino had a gift for dialog and his own visual toolbox that expanded the language of cinematic storytelling. Pulp Fiction was the culmination of a two-year stretch where the director went from Nobody to Wunderkind, beginning with the Sundance premiere »
- Jeff Labrecque
Like a shot of adrenaline to the heart, “Pulp Fiction” changed the movie landscape when it opened on Oct. 14, 1994. Quentin Tarantino’s ode to crime and pop-culture was a bold new cinematic vision in a decade that badly needed one. Before “Pulp Fiction,” prestige films like “Dances with Wolves” and “A Few Good Men” seemed content to play it safe, while blockbusters like “Jurassic Park” and “The Fugitive” focused squarely on the mainstream. Overnight, the term ‘Tarantinoesque’ became shorthand for audaciously stylized ultra-violence and genre-bending thrills. On its 20th anniversary, here’s why “Pulp Fiction” remains the coolest movie of the ’90s.
The Soundtrack: From the rumbling reverb of Dick Dale’s surf-rock rendition of “Misirlou” to the soulful crooning of Dusty Springfield’s “Son of a Preacher Man” and the strip club sexiness of Kool & the Gang’s “Jungle Boogie,” the “Pulp Fiction” soundtrack effortlessly mixes musical styles the way the film blends genres. »
- Matthew Chernov
Miramax was the independent studio of the 1990's, especially considering that it was the stomping grounds for both Kevin Smith and Quentin Tarantino at the beginning of their careers. With similar approaches to filmmaking and dialogue, the two writer/directors handed in Clerks and Reservoir Dogs, and the rest was history. Yet those similarities always just seemed like a really big coincidence. At least, it seemed that way until today's Reddit Ama with Kevin Smith, where during the course of answering the questions of fans, it came out that Clerks owes its existence to one famous scene in Reservoir Dogs... "...the discussion of Like A Virgin and Madonna at the start of Reservoir Dogs. That was life-changing for me. I was like "We're allowed to talk about other movies in movies now? I Want In!!! Because that was my whole world and lexicon then: movies. My friends and I didn't »
Directed by Paco Cabezas (Neon Flesh) and written by Max Landis (Chronicle), the film revolves around a young woman (Anna Kendrick) who cannot believe her luck when she meets her dream man (Sam Rockwell). The pair fall in love, and everything’s hunky dory until her seemingly perfect guy turns out to be harbouring a secret: he’s a hitman. While my paraphrasing of the premise might not seem original, or enticing, remember that this is a script by Landis. He’s one of my favourite screenwriters, and has a knack for spinning out new angles on tired ideas.
Roth will now get to tackle Landis’ peppy dialogue as he’s set to play Hopper, Mr. Right’s former mentor turned nemesis. Sounds like a very villainous role, »
- Gem Seddon
Exclusive: Tim Roth is the latest major casting piece to fall into place for Mr. Right, the action-comedy-romance being helmed by Paco Cabezas (Neon Flesh) from a Max Landis script. Sam Rockwell and Anna Kendrick lead the story of a woman whose unlucky streak in love seemingly ends when she meets the perfect guy, who turns out to be a hitman. Rapper RZA recently joined the cast as a rival marksman and Roth will play Hopper, Mr. Right’s former mentor turned nemesis, as filming commences next week in New Orleans. Amasia Entertainment’s Michael Helfant and Bradley Gallo are producing with Circle of Confusion’s Lawrence Mattis and Rick Jacobs. Stephen Emery and Landis are exec producers. Roth’s recent films include Grace of Monaco and Arbitrage, and the Pulp Fiction and Reservoir Dogs thesp will next appear in Quentin Tarantino’s upcoming Western The Hateful Eight, Mlk drama Selma, »
- Jen Yamato
Bigger film budgets continue to dwindle. Smaller film sets continue to appear. Camera technology and film centric software continue to evolve. Through all the change, one aspect of film production that has remained the same— difficult directors. As a producer, I understand this. Filmmaker’s are passionate people by nature. Their work is the ultimate fruit of their labor, and they only want to make quality of the highest caliber they’re capable of. Of course, there are a few directors in our industry who have a license to demand their perfected vision — David Fincher and James Cameron have proven their artistic credibility, skill set, and commercial viability through consistent quality work and perseverance. Yet, as an independent producer, I’m often presented low budget films helmed by first time directors with an unrealistic approach to execute their vision on a budget — most often due to lack of experience. This serves not to lessen ambition, »
- Joe Alberti
One of the essential Quentin Tarantino scenes is the frank roundtable analysis of "Like a Virgin" from the 1992 crime classic Reservoir Dogs. Now, thanks to animator and visual effects artist Glenn O Neill, the filmmaker's fans can enjoy a full-on "Virgin" mash-up, which features dialogue snippets from iconic Tarantino characters – from Mr. Pink to Jules Winnfield to Adolf Hitler – spliced into a spoken-word version of Madonna's classic 1984 single.
But O Neill goes one goofy step further with his clip, adjusting crucial lyrics to fit Tarantino's trademark, profanity-laced dialogue. "I made »
The McGowan Trilogy Directed by Kira Simring The Cell 338 West 23rd Street, NYC September 11 - October 5, 2014
Séamus Scanlon's The McGowan Trilogy: A Serial in Three Acts embodies the best things about New York City's annual 1st Irish theater festival. The play’s run at The Cell, which bills itself as a twenty-first century salon incubating new works of art, offers a chance to witness the work of a rising talent in Irish drama in an intimate venue. McGowan's assemblage of three one-act plays creates a satisfying arc centered on the title character, Victor M. McGowan, an I.R.A. soldier and killer played by Paul Nugent, who originated the role in 2012. In the published version of the play, Nugent describes his character as maybe having "a genuine soul under all that devilish sneering bravado," and he succeeds in bringing those emotional nuances out over the course of the evening.
- Leah Richards
It seems even James Franco can't take himself seriously anymore. The infamous multi-hyphenate has teamed up with AOL for a new web series Making a Scene, in which Franco and his friends remix iconic film scenes with other movies and genres.
The launch for the series was held at the satirically trendy Neuehouse in lower Manhattan, a space that describes itself as a "post-modernist 'machine for creating'... intended for solopreneurs" in its manifesto (because of course the place hosting a James Franco event has a manifesto).
During the screening, which featured mash-ups of Batman with Beetlejuice,Dirty Dancing with Reservoir Dogs and more, Franco repeatedly found himself face-palming at his own work. "They ended up being really funny — not intentionally," Franco remarked at one point.
Read More > »
- Sadie Gennis
Some things, like peanut butter and jelly, were made to be mashed together. Other things, like Dirty Dancing and Reservoir Dogs, not so much. For his latest project, James Franco is focusing on the latter.
Related Summer TV’s 26 Winners and Losers
Franco has teamed up with AOL for Making a Scene, a series in which his team creates cinematic mashups, either by combining two films or taking a film and tweaking it to a different genre. Scenes were submitted to Franco’s Twitter and Instagram, and Franco tells TVLine that one general trend among submissions took him by surprise. »
"You gotta hear this one song. It'll change your life, I swear," a girl (Sam) in a doctor's waiting room once said to a boy (Andrew) who looked a lot like Zach Braff. Then, she placed a pair of headphones over his ears and played him The Shins.
Garden State's soundtrack became a must-have for all fans in 2004 thanks to its effective use - and curation - of indie artists, acoustic ditties and mild electronica. It was an album that showed a jukebox soundtrack (traditionally the territory of Tarantino) could do something different, whether that was introducing people to obscure bands they hadn't heard of or connecting you with others who also liked the movie's music.
10 years later, filmmakers are still chasing the same thing: the ultimate mixtape. »
James Franco is teaming up with AOL for a unique web series Making a Scene with James Franco, which you can check out in the first trailer. The actor is teaming up with Scott Haze and Ahna O'Reilly for this 10-episode web series where they recreate scenes from classic movies.
Take a look at the first footage from the series, which debuts September 17 with the first three episodes, then take a look at the official press release for more details.
Making a Scene with James Franco, an innovative ten-episode comedy showcasing James Franco's recreation of cinema's most iconic moments, will launch Wednesday, September 17th on AOL Originals.
Born out of the film buff's love of movies and a childhood spent acting out scenes with his brothers, Making a Scene features James collaborating with his creative team and fellow actors - including Scott Haze (Child of God) and Ahna O'Reilly »
20th Century Fox/Warner Bros.
Shared universes are all the rage in movies and have been long before Marvel stepped up to the plate. Sure, their Cinematic Universe has revolutionised blockbuster cinema, providing a new franchise model that other studios with superhero rights are keen to replicated, but long before Nick Fury swung by Tony Stark’s pad late one night, film-makers have been having purposeful links between their films.
The king of this has to be Quentin Tarantino. What started off as a little name drop in Pulp Fiction (Vince Vega is the brother of Reservoir Dogs’ Mr Blonde) has become a definitive part of the director’s filmography. There’s way too many to list here, as evidenced by this whopping article that brings together all these references.
- Alex Leadbeater
The Weinstein Company secures worldwide distribution of Tarantino’s eighth film.
The film post-Civil War western will be shot on 65mm film and have the widest 70mm film release in more than 20 years, according to TWC.
This distribution plan will also feature 35mm and Dcp formats following the initial and exclusive 70mm release.
Principal photography will begin in January with a domestic release slated for autumn 2015.
- firstname.lastname@example.org (Michael Rosser)
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