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(1995 TV Movie)

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‘Fargo’ Emmys 2016: Shooting and Editing the Trippy, Turbulent Prequel

‘Fargo’ Emmys 2016: Shooting and Editing the Trippy, Turbulent Prequel
FX’s “Fargo” got a lot more bizarre in its sophomore season, going back in time to 1979 to explore more ordinary people gone bad. Noah Hawley’s semi-prequel even borrowed elements from “Miller’s Crossing” and “The Man Who Wasn’t There” to appropriate more of the Coen brothers universe. There’s an escalation of violence that spirals out of control from the micro to the macro, which underscores the turbulent period.

Season 2 revolves around a winter gang war between a local crime family (the Gerhardts) and a Kansas City syndicate, all sparked by an inciting diner incident known as “The Sioux Falls Massacre” that resulted in three murders. The chain reaction is what state trooper Lou Solverson (Patrick Wilson) and sheriff Hank Larsson (Ted Danson) must resolve.

The new challenges for the prequel included getting the period look just right and editorially dealing with a sprawling ensemble cast of characters.
See full article at Indiewire Television »

‘Fargo’ Emmys 2016: Shooting and Editing the Trippy, Turbulent Prequel

‘Fargo’ Emmys 2016: Shooting and Editing the Trippy, Turbulent Prequel
FX’s “Fargo” got a lot more bizarre in its sophomore season, going back in time to 1979 to explore more ordinary people gone bad. Noah Hawley’s semi-prequel even borrowed elements from “Miller’s Crossing” and “The Man Who Wasn’t There” to appropriate more of the Coen brothers universe. There’s an escalation of violence that spirals out of control from the micro to the macro, which underscores the turbulent period.

Season 2 revolves around a winter gang war between a local crime family (the Gerhardts) and a Kansas City syndicate, all sparked by an inciting diner incident known as “The Sioux Falls Massacre” that resulted in three murders. The chain reaction is what state trooper Lou Solverson (Patrick Wilson) and sheriff Hank Larsson (Ted Danson) must resolve.

The new challenges for the prequel included getting the period look just right and editorially dealing with a sprawling ensemble cast of characters.
See full article at Indiewire »

Season finale review: 'Masters of Sex' - 'The Revolution Will Not Be Televised'

  • Hitfix
Season finale review: 'Masters of Sex' - 'The Revolution Will Not Be Televised'
"Masters of Sex" has wrapped up another season. I spoke with showrunner Michelle Ashford about various decisions that went into this year's stories, and I have a review of the finale coming up just as soon as I have all the gravitas of a toothpaste commercial... "God, what if you just let go of everything you thought your life would be? What if we both did? What then?" -Libby Season 1 of "Masters of Sex" built to a very public display of Bill and Virginia's work that got an ugly reception, followed by Bill being open about his feelings to Virginia. For a while, season 2 seemed like it was building to a parallel of that with the taping of the CBS News segment, but instead "The Revolution Will Not Be Televised" is the opposite of last year's finale. Bill conspires to kill the CBS feature before it can air because he's paranoid of repeating history,
See full article at Hitfix »

'Masters of Sex' creator Michelle Ashford talks season 2

  • Hitfix
Masters of Sex” wrapped up an alternately excellent and frustrating second season tonight. I reviewed the finale here , and I had a long talk with “Masters” creator Michelle Ashford about the various big decisions of season 2, including the time jump, fictionalizing more aspects of the Masters and Johnson story and… Cal-o-Metric? All that coming up just as soon as I’m a doctor who also went to medical school… When you and I spoke briefly in the summer during the TCA field trip to your set, you said you had not originally expected going into writing the season to return so close to when season 1 ended. Why did you ultimately decide to do that? Michelle Ashford: I used the first season as kind of a year. It was setting the series up and so I thought, “Let’s take a year and see what these people are all about.
See full article at Hitfix »

Red Movie Review

Directed by Robert Schwentke (2009’s “The Time Traveler’s Wife”), “Red” is based on a three-part DC Comics graphic novel by Warren Ellis and Cully Hamner. There are no superheroes on hand, though one might suspect otherwise after watching Frank and his cohorts perform some fancy stuntwork with their high-powered weaponry. Before the pyrotechnics go down, the film opens as a closely observed character story about Frank’s struggle to slow down and get a life after years of dedicating himself to his profession. Screenwriters Jon Hoeber and Erich Hoeber (2009’s “Whiteout”) bring a welcome sense of humor to these early scenes and also strike hot in the over-the-phone flirtations between Frank and Sarah. Had things continued to center on these two even after their lives come under fire, “Red” might have proved to be something special. Instead, their snappy interplay fades into the background as the rest of his
See full article at Filmofilia »

Collider Goes to the Set of Red (Retired Extremely Dangerous) – Plus Producer Lorenzo di Bonaventura On Set Interview

Bruce Willis is standing next to some very large shipping containers. He’s wearing a black leather coat with a gun in one hand. Next to him is Mary-Louise Parker. She’s frightened because someone is firing a gun in their direction. Across from the two of them is John Malkovich. He’s also wearing a long coat…but he’s holding a large stuffed animal that looks exactly like a pink pig. It’s very funny to look at. More gun fire. Malkovich then says, “Can we kill her now?”

The date is April 5, 2010 and I’m in New Orleans on the set of Summit Entertainment’s Red. We’re in a shipping yard on production day 56 of 60 and the normal heat and humidity of New Orleans is somehow a beautiful sunny afternoon. It’s a perfect day to watch Bruce Willis and company try and kill some bad guys.
See full article at Collider.com »

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