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DreamWorks Animation's The Croods 2 is finally back on the right track after the studio set a new release date for the animated sequel last month. Today the studio has set Joel Crawford to make his feature directorial debut with The Croods 2, after serving as head of story on the studio's Trolls and directing the new TV special DreamWorks Trolls Holiday, which was announced this week and will debut on NBC Wednesday, November 24. Here's what Chris deFaria, president of DreamWorks Animation Film Group, had to say in a statement about the filmmaker.
"Joel has done masterful work in his career and has proven himself to be an artist with a keen eye for character and story. His wonderful work at the helm of the DreamWorks Trolls Holiday as the director demonstrates his ability to expand his talents, and we think he's the perfect choice to bring the Croods »
Simon Brew Oct 17, 2017
Ron's Gone Wrong is a big new animated movie, set to be produced in the middle of London...
New British animation studio Locksmith Animation has followed up its announcement of a deal with 20th Century Fox with the news of its first movie. The film will be called Ron’s Gone Wrong, and will be produced in London, in conjunction with effects house Double Negative.
The movie is to be directed by J P Vine (of Pixar vintage) and Alessandro Carloni (the co-director of Kung Fu Panda 3), and the script has been penned by Peter Baynham and Locksmith co-founder Sarah Smith.
Furthermore, a release date of November 6th 2020 has been confirmed.
As for story details, here’s what we know about Ron’s Gone Wrong, courtesy of the official synopsis…
Ron’S Gone Wrong tells the story of the wonderful walking, talking, digitally connected bot that sweeps »
Angelina Jolie has signed on to provide the voice of Stella in Disney's long-gestating adaptation The One and Only Ivan, becoming the first voice cast member to come aboard. The actress was already attached to produce this adaptation, alongside Allison Shearmur, who has helped produce Disney hits such as Cinderella and Rogue One: A Star Wars Story, but now she is lending her voice to the project as well. Now that Angelina Jolie has been cast, the studio is searching for an actress who will play the key role of a janitor's daughter, who is instrumental in the rescue of both Stella the elephant and Ivan the silverback gorilla.
The project is based on the Newbery Medal-winning book of the same name, written by Katherine Applegate and illustrated by Patricia Castelao, which was published in 2012. The story centers on Ivan the silverback gorilla, Stella the baby elephant and a stray dog named Bob, »
Think your friends are bad at keeping their lips sealed? Just imagine how much more of a struggle it would be if they were constantly bombarded with questions on camera.
Even these media-seasoned celebs have accidentally spilled the beans about their buddies’ would-be secrets, proving that no one is immune to the occasional goof.
Kaling‘s A Wrinkle in Time costar confirmed that she’s expecting her first child while talking to People in July. “My mouth dropped,” Winfrey recalled about how she first heard the news while standing in a press line at Disney’s D23 expo. »
- Lydia Price
“Since you’re an event throwing expert, we thought it would be fun if you gave everyone some tips and I were to help,” the talk show host explained while huddled behind Hudson dressed in a polka dot dress and apron. “So I wrote everything that you’re going to say, all you have to do is read from the prompter and I’m going to be your hands. So it’s pretty self explanatory, »
- Ana Calderone
The company made the announcement Tuesday and said the appointment is effective immediately. He will report to chief executive officer David Ellison and be responsible with Dana Goldberg, chief creative officer, for helping to set the overall creative direction and strategy for Skydance’s new animation and family entertainment division in conjunction with the feature film and television divisions.
Skydance formed a multi-year partnership in March with Madrid-based Ilion Animation Studios and in July, announced its first two animated feature films — “Luck,” which opens on March 19, 2021, and “Split.”
- Dave McNary
On Community Day, join us for Free movies!On Community Day, join us for Free movies!Jenny Bullough10/6/2017 9:40:00 Am
What’s better than a movie at a Cineplex theatre? A Free movie at a Cineplex theatre! Join us on the morning of Saturday October 14 for Community Day, when we’ll be offering free screenings of Five different films, with popcorn, select drinks and candy for only $2.50. It’s our way of saying “thank you” for making us part of your communities!
Plus, you’ll be supporting a good cause – 100% of concession sales will go to our national charity partner, We.
We have a fantastic lineup of movies that the whole family can enjoy! Now’s your chance to catch them on the big screen again – or for the first time, if you missed any of these on their first run! The movies are:
- Jenny Bullough
Well this is becoming a thing, and it's a thing I'm Way into.
Last Man on Earth pulled off another surprise (and incredibly brief) season-premiere cameo on Sunday night, bringing in Jack Black (Tenacious D, Kung Fu Panda) for all of, oh, half a second before his character was killed off. Will Forte
Read More > »
- Tim Surette
The company announced Tuesday that it’s developing “Over the Moon,” a modern-day retelling of the Chinese myth about a mysterious moon goddess, with Audrey Wells writing and Janet Yang executive-producing. It’s also developing an untitled Chinatown project as a comedic adventure with supernatural elements, with Alan Yang, co-creator of “Master of None,” executive-producing.
Oriental DreamWorks also said it’s developing superhero project “The Monkey King,” written by Ron Friedman and Steve Bencich; the comedy “Illumikitty,” about a feline plot for world domination, written by Jenny Bicks; and the animated comedy “Lucky,” written by Rita Hsiao (“Mulan”).
Oriental DreamWorks is backed by DreamWorks Animation, Cmc Capital Partners, Shanghai Media Group, and Shanghai Alliance Investment Limited. Warner Bros. is reportedly in talks to buy Universal’s 45% stake in the company, which Universal inherited when Comcast acquired DreamWorks Animation last »
- Dave McNary
The sequel to 2013’s “The Croods” had been taken off the release schedule and thought to be possibly scrapped. But it is now back on track for a Sept. 18, 2020 release.
The first installment of “The Croods” made $587 million worldwide pointing towards signs of an obvious sequel. Leslie Mann is set to join the returning cast that included Nicolas Cage, Emma Stone, Ryan Reynolds, Catherine Keener, Cloris Leachman, and Clark Duke.
Plot details are unknown at this time.
“Spooky Jack,” which will be exec produced by Jason Blum, is set to open on Sept. 17, 2021. The story follows three siblings who move into an eerie new home and discover that all the creatures we’ve been told don’t exist actually do. They must handle some unusual squatters from mischievous leprechauns and the elusive Big Foot to »
- Justin Kroll
Cobb, who most recently served as chief creative officer and head of studio for Oriental DreamWorks, will be based in the Los Angeles office, reporting to chief content officer Ted Sarandos. In her role, she will lead the content team responsible for bringing kids and family titles to Netflix members, with an expanded focus on high quality series and event programming across the spectrum of kids and family entertainment, including both animation and live action.
“Melissa brings a wealth of experience creating and overseeing series and feature films that resonate with kids and families across the globe,” said Sarandos. “No matter where they live, our members find tremendous enjoyment in our kids and family content, and I couldn’t be happier to have Melissa on board to continue expanding into new and exciting areas.”
- Joe Otterson
Netflix has appointed a new key executive to head its children’s programming division.
Melissa Cobb has joined the streaming giant as vp kids and family, where she will oversee the creation and acquisition of the platform's more G-rated fare. Based in the Los Angeles office, Cobb will report to chief content officer Ted Sarandos. In her role, the Kung Fu Panda producer will lead the content team responsible for bringing family-friendly films and TV shows — both animated and live-action — to Netflix subscribers globally, with an emphasis on high-quality series and event programming.
The hiring comes »
- Bryn Elise Sandberg
Rob Riggle is on board to voice an elephant and Stephen Merchant has been added as a crocodile for the project, which is currently in production. Plaza is voicing Brain the Spider while Slate is on board as Mitzi the narcoleptic Ostrich with Robinson as the mansplaining Bullfrog.
John Stevenson (“Kung Fu Panda”) is directing. Producers are Unified’s Keith Kjarval and Kurt Rauer. Executive producers are Cecil Kramer, Ben Ruffman, and Steve Goldstein of Unified, Wayne Godfrey and Robert Jones of the Fyzz, and Kitt Watson of Watson Enterprises.
“The Ark and the Aardvark” tells the story of Teller’s outcast aardvark, who becomes the reluctant leader of a ragtag group of misfit animals that need to »
- Dave McNary
Aubrey Plaza (Ingrid Goes West, Legion), Jenny Slate (Zootopia), Craig Robinson (Ghosted), Rob Riggle, and Stephen Merchant have joined the previously announced Miles Teller to lead the voice cast in the animated feature The Ark and the Aardvark. The film is currently in production being directed by Kung Fu Panda‘s John Stevenson. Teller will portray Gilbert the Aardvark; Plaza as the ever-smart Brain the Spider, Slate as Mitzi the narcoleptic Ostrich, Robinson as the… »
14 September 2017 1:08 PM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Kung Fu Panda helmer John Stevenson is directing the reimagining of the Noah’s Ark story, which stars Miles Teller as the titular aardvark, Gilbert, who leads a group of misfit animals though natural disasters and personal anxieties.
Plaza joins the voice cast as the ever-smart Brain the Spider, along with Slate as Mitzi the narcoleptic Ostrich, Robinson as the mansplaining Bullfrog, Riggle as Todd the elephant and Merchant as the wise old Croc.
Currently in production, the animated film »
- Ashley Lee
Wilson in “How to Be Single”
Rebel Wilson won a landmark sum in her lawsuit against Bauer Media, the publisher behind Woman’s Day and the Australian Women’s Weekly. Wilson, who had brought a libel case against Bauer, received a settlement of “more than $4.5m [approximately $3.6m in Usd] in damages, plus interest and court costs” from the Melbourne supreme court, The Guardian confirms. The “Pitch Perfect” actress had argued that Bauer Media attempted to permanently damage her reputation by knowingly publishing lies about her around the release of “Pitch Perfect 2.” Bauer’s publications had written several pieces suggesting that Wilson had been dishonest about her age, name, and upbringing.
The “Bridesmaids” star also claimed that Bauer’s stories had cost her job opportunities, specifically roles in Dreamworks’ “Kung Fu Panda 3” and “Trolls.” “You’re not popular for long in Hollywood, you have a few years until you go out of fashion,” the actress explained. “They took those two years away from me doing what I love, which is entertaining people and making people laugh.”
After hearing both sides’ evidence, a six-person jury found in Wilson’s favor in June. The jury was asked to consider “40 questions and eight claims of defamation relating to a series of articles accusing Wilson of being a serial liar.”
Justice John Dixon’s judgment specified that Wilson was due “substantial” payment. The actress was granted “$650,000 in general damages, including aggravated damages, and $3,917,472 in special damages for opportunities of screen roles lost because of the articles.” Wilson will also receive interest and legal cost reparations sometime in the future.
Dixon’s decision also found that the usual $389,500 ceiling on Victorian defamation cases “did not apply because Wilson’s case warranted an award of aggravation.”
According to tweets from Wilson, her settlement marks an Australian record, but the case was never about money. “I’m looking forward to helping out some great Australian charities and supporting the Oz film industry with the damages I’ve received,” she added.
Justice Dixon has awarded me a record sum and I'm extremely grateful for that. It is 4 times the Australian record.
To me though, this case wasn't about the money.
I'm looking forward to helping out some great Australian charities and supporting the Oz film industry with the damages I've received.
“Absolutely Fabulous: The Movie” and “How to Be Single” are among Wilson’s recent screen credits. You can catch her reprise the role of Fat Amy in “Pitch Perfect 3,” set to bow December 22. Wilson is also set to star opposite Anne Hathaway in the gender-swapped “Dirty Rotten Scoundrels” reboot “Nasty Women.” Wilson and Hathaway will portray two con-women trying to fleece a tech prodigy for all he’s worth.
Rebel Wilson Receives Record Settlement in Defamation Lawsuit was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Rachel Montpelier
Violeta Ayala is an award-winning Indigenous filmmaker and writer from Bolivia. Her other credits include “The Flight,” “The Bolivian Case,” and “Stolen,” which has won numerous awards and aired on PBS. Ayala is currently working on a documentary about black rights in Australia and a screenplay about her grandfather, leader of the Bolivian Communist Party and friend to Che Guevara. She is a founding member of United Notions Film.
“Cocaine Prison” will premiere at the 2017 Toronto International Film Festival on September 10.
W&H: Describe the film for us in your own words.
Va: “Cocaine Prison” is a film about the ordinary people caught up in the drug war. We shot everything from ants to mountains and all things in between.
The film follows Daisy and Hernan, teenage siblings who dream of forming a band. They end up caught in the middle of a web beyond their imagination. Hernan is arrested while transporting cocaine from Bolivia to Argentina and is sent to San Sebastian Prison. While there, he meets Mario, a cocaine worker who has been in prison for years without a trial. While visiting the prison we gave cameras to Hernan, Mario, and other inmates and asked them to film. We made this film with their collaboration.
The film is very personal and character driven; it’s shot and put together like a fiction film. “Cocaine Prison” humanizes the drug workers while highlighting the unfairness of the drug war.
W&H: What drew you to this story?
Va: I was tired of seeing the narrative of the gun-toting narco myth over and over on screen. I’m not saying Pablo Escobar or El Chapo don’t exist, but rather that those stories are the exception.
The majority of the people involved in making and transporting drugs are young and/or vulnerable. It’s a big global business and it works the same way that globalization does: Indigenous people, people of color, and the young and poor risk everything, while those at the top make the money.
These “drug workers” are not devilish or stupid; they are people whose lives depend on a business that those in power have determined to be illegal. Everyone is hurting in the North and the South. The drug workers are part of a long chain.
I wanted to tell this story from my eyes and my own experience. I’m an Indigenous filmmaker from Bolivia. I grew up with this war on drugs and it has affected my life. I watched through my window as the army tore apart families and detained and violently beat anyone they believed was working in the cocaine business.
During the 80s and 90s, poor farmers were the target of the DEA and Bolivian army. The war on drugs has failed. However, governments worldwide choose to continue punishing the most vulnerable rather than accept the failure and look for alternatives.
The war on drugs is not only racist, but is also colonialist. I believe we won’t have real democracies in Latin America until this drug war reaches an end.
It’s a very dangerous moment in our history. Bolivia is one of only four countries (all of which border the Amazon) that produces the coca leaf — the main ingredient to make cocaine. The tentacles of this drug war have stretched from the cities to the jungle. It affects our environment and the Indigenous groups in the middle of the Amazon, where they have lived for tens of thousands of years.
W&H: What do you want people to think about when they are leaving the theater?
Va: I would like them to feel empathy. The drug war is a complex issue that affects us all.
There is an increased awareness of where our food comes from and how it is produced. When people consume illegal drugs, they have no idea where the substances come from and how they are produced. Because of the illegality of the drug trade, there is a disconnect about where drugs are coming from and the effect this industry has on the lives of others and the environment.
I want the audience to go further in questioning the global drug trade from a different point of view.
W&H: What was the biggest challenge in making the film?
Va: The time it took to make the film. Every story is a journey on its own. We started filming seven years ago. We taught English and filmed inside San Sebastian Prison for almost four years. It was tough. I met Daisy and Hernan when they were 17 and 19, respectively. I watched them grow, and they are like family to me now.
Another big challenge was bringing the elements together. I wanted the film to shy away from a Western, stereotypical narrative that tries to explain everything to outsiders. My challenge was to bring a Western audience to our world.
The film isn’t based on interviews; it follows the real life stories of these people, up-close and personal. It tries to counter the Western narrative about the drug war through poetics and gentleness. The music is also part of that creative process. An Australian composer came to Bolivia and recorded Bolivian musicians, marrying a traditional film score with Andean instruments, melody, and sound.
Following my voice in a Western-dominated media was the biggest challenge.
W&H: How did you get your film funded? Share some insights into how you got the film made.
Va: I have always funded my films through film foundations and broadcasters. “Cocaine Prison” has gained support from Sundance, MacArthur, Tribeca, Chicken and Egg, Cnc, Bertha BritDoc, Open Society Foundations, Screen Australia, Latin Public Broadcaster, and others.
It is draining to think of the time I spend writing grant applications. As you can imagine, most of the time it’s met with rejection.You have to have thick skin and really want to make the film.
I try and try and keep trying, always improving my applications and my materials so funders can understand what I’m trying to achieve.
W&H: What does it mean for you to have your film play at Tiff?
Va: It’s the second time that I have a film at Tiff. My first documentary, “Stolen,” premiered at Tiff in 2009. “Stolen” had a very long and successful festival life that included close to 100 festivals and 16 awards.
I’m the first Bolivian filmmaker to have two films premiering in Toronto, and this year I’m also one of the two Australian directors at Tiff. “Sweet Country” director Warwick Thornton is Aboriginal, and I’m Quechua. This makes me incredibly proud.
There is an African proverb that says, “Until the story of the hunt is told by the lion, the tale of the hunt will always glorify the hunter.”
W&H: What’s the best and worst advice you’ve received?
Va: Best advice: Three-time Academy Award nominee Deborah Dickson (who is like the midwife of all of my films ) once told me that film is like a puzzle. You have to keep trying until you have every piece in its place so you can see the entire picture.
Worst advice: When I was at university in Australia, a classmate told me that I was wasting my time and that, because English wasn't my first language, I could never work in the industry.
I have endured a lot of racism and sexism through my career because I dare to be myself and don't usually compromise. It's hard to be an Indigenous filmmaker and a woman of color in a world dominated by white male filmmakers, funders, etc. I generally don't let racism and sexism bother me too much.
W&H: What advice do you have for other female directors?
Va: I’m skeptical about giving advice because something that might have worked for me won’t necessarily work for another person.
Watch “Kung Fu Panda” and go wild on your own terms.
W&H: Name your favorite woman-directed film and why.
Va: Ava DuVernay’s “13th” for many reasons. It features a black woman telling us the story from her perspective. It’s a complex film told with so much dignity. It’s a film that everyone should watch to understand the deep roots of racism, slavery, domination, U.S. prisons, and the world.
I also love “Me and You and Everyone We Know” by Miranda July. Miranda takes us into her world, and I really love that. She doesn’t try to tell a big story or whitewash a narrative. Miranda really focuses on her experiences and is creatively wonderful.
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.
Va: I believe change is on our hands and we have to keep fighting. Change doesn’t come from the top down, but rather the other way around.
Change won’t happen because few opportunities have arisen in the last few years — this is a naive way to see it. We live in a male-dominated world, and the film industry is no different. If we talk about what is fair, only women should make films for the next 100 years. Maybe then we could talk about opportunity.
As a woman filmmaker of color, I also believe that we need to be conscious about who is telling the story; we must not repeat the mistake of colonization that male filmmakers made. We can’t talk about feminism without talking about racism, opportunity, and privilege. Women filmmakers are people, not a statistic. It’s so unfair to try to measure our involvement after a few opportunities have been thrown at us without a real and deep change in the system.
We are creating and raising our voices. This is a process, and I’m sure we will change the system — we the women of the world.
Tiff 2017 Women Directors: Meet Violeta Ayala — “Cocaine Prison” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Kelsey Moore
Back in February, a report surfaced that Angelina Jolie is planning a return to acting, with Disney's Maleficent sequel said to be at the top of the list. The actress hasn't appeared on the big screen since the 2015 movie By the Sea, which she also directed, although she did return to voice Tigress in the animated sequel Kung Fu Panda 3 last year. While promoting her new directorial effort First They Killed My Father, which debuted at the Telluride Film Festival over the weekend, Angelina Jolie confirmed that Maleficent 2 is still happening. Here's what she had to say below.
"We have been working on the script and this is going to be a really strong sequel."
These comments from Angelina Jolie's Deadline interview come roughly a year and a half after Disney confirmed Maleficent 2 is actually happening. The news didn't come as too much of a surprise, since »
Jennifer Yuh Nelson: Dp/30: The Oral History Of Hollywood/YouTube
As we previously reported, “Kung Fu Panda 2” director Jennifer Yuh Nelson has begun to direct live-action work alongside her already-prestigious animation career. Now, per Deadline, Nelson will join forces with “Creed” star Michael B. Jordan, Fox, and production company 21 Laps to remake “A Bittersweet Life.”
Originally a Korean cult action flick, “The Bittersweet Life” follows a longtime mobster who becomes emotionally torn between his boss and the mistress he’s been ordered to kill. The newly Americanized version, which will star Jordan, will be a “high-concept, character-driven genre film with franchise potential.”
Nelson’s background is predominantly in animation as both a storyboard artist and director. Her directorial debut, “Kung Fu Panda 2,” and its successor, “Kung Fu Panda 3,” received Academy Award nominations for Best Animated Picture.
Alongside “Frozen” co-director Jennifer Lee, Nelson is one of very few women directors in animation. Even though women make up roughly 60 percent of college animation programs, they represent only about 20 percent of the creative workforce.
Nelson’s live-action adaptation of “The Darkest Minds” is still in production. Featuring Mandy Moore (“This is Us,” “Tangled”), Amandla Stenberg (“Everything, Everything”), and Gwendoline Christie (“Game of Thrones”), the sci-fi thriller follows a group of supernatural children on the run from the government. It is expected to hit theaters in 2018.
Jennifer Yuh Nelson to Helm “Bittersweet Life” Remake was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Kelsey Moore
A Bittersweet Life: Michael B. Jordan (Creed, above) will star in A Bittersweet Life. It's a remake of a Korean action thriller about a gangster whose loyalties are tested when he is ordered to kill a woman he's fallen for. Jennifer Yuh Nelson (Kung Fu Panda 2; Kung Fu Panda 3) will direct. [Deadline] Sunset Boulevard: Glenn Close is in "advanced talks" to star in a big-screen musical version of Sunset Boulevard. Close originated the role on stage in 1994 and recently starred again in a revival of the musical (above). It's inspired by Billy Wilder's 1950 classic drama about a faded silent film star who develops a strange relationship with a young screenwriter. [The Wrap] Mary, Queen of Scots: Our first look at Saoirse Ronan in...
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- Peter Martin
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