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The Flickering Myth Podcast gets Big Eyes…
Set for release on Christmas Day in the Us and Boxing Day in the UK, Tim Burton’s Big Eyes is the true-life story of artist Walter Keane, who stole the work of his wife Margaret and claimed it as his own.
You can subscribe to the Flickering Myth Podcast via iTunes, update your RSS feed or listen via Sitcher or using the player below…
And don’t forget to check out past episodes via the Flickering Myth Pocast website or use the player below:
- Luke Owen
Boardwalk Empire alum Michael Stuhlbarg has signed on to a highly promising follow-up project today, with word that he’s set to portray a journalist in Universal’s Danny Boyle-directed, Aaron Sorkin-scripted Steve Jobs movie.
The project has been making headlines a lot lately. First, Michael Fassbender was locked into place to portray the late Apple founder. Then, the project lost its funding when Sony unexpectedly put it into turnaround (though Universal was quick to swoop in). More recently, Jeff Daniels landed the supporting role of former Apple CEO John Sculley, and leaked emails from Sony called the script, which adapts William Isaacson’s Steve Jobs, “brilliant” and “masterful.”
The film will take part in three distinct acts, following Jobs during three stressful, high-profile product launches including the first Macintosh in 1984 and Apple’s 2001 debut of the iPod. It has been described as more like a play than a typical Hollywood biopic, »
- Isaac Feldberg
Bones lovers, as I alluded to in my teaser article earlier, "The 200th in the 10th" is a veritable orgasm of giddy colorful entertainment that will go down in the annals of Bones history as one of the most enjoyable of all time in several Bones-y sub-categories. As far as romanticism, humor and action/adventure are concerned, there's not much this episode doesn't deliver.
Visually stunning and masterfully scripted, Bones makes rolling the clock back seven decades look as easy as flipping a light switch. From the cool blue-green and butter-yellow scenery, the breezy winding seaside cliff-driving, the impeccably manicuring of hem and crown, and the lively dialog dripping in suave jocularity reminiscent of Cary Grant and Eva Marie Saint on the set of one of Hitchcock's finest, this was one of Bones' most sumptuous treats. And the score. Oh, my God, the score! Executive Producer Stephen 'Suspense-And-Intrigue-Are-My-Middle-Names' Nathan, »
Nominees for the 21st Annual Screen Actors Guild Awards for outstanding performances in 2014 in five film and eight television categories, as well as the SAG Awards honors for outstanding action performances by film and television stunt ensembles were announced this morning in Los Angeles at the Pacific Design Center’s SilverScreen Theater in West Hollywood.
SAG-AFTRA President Ken Howard introduced Ansel Elgort (“The Fault in Our Stars,” “Divergent”) and actress/director/producer and SAG Award recipient Eva Longoria, who announced the nominees for this year’s Actors. SAG Awards Committee Chair JoBeth Williams and Vice Chair Daryl Anderson announced the stunt ensemble nominees.
The 21st Annual Screen Actors Guild Awards will be simulcast live nationally on TNT and TBS on Sunday, Jan. 25, 2015 at 8 p.m. (Et) / 5 p.m. (Pt) from the Los Angeles Shrine Exposition Center. An encore performance will air immediately following on TNT. The SAG Awards can »
- Michelle McCue
You're always going to snub someone during awards season. It's inevitable. Happily, however, the 2015 SAG Awards nominations didn't include as many of the head scratching nominations as we've seen in previous years. Sure, Naomi Watts' nomination for "St. Vincent" is quizzical, at best, but we've moved on from Helen Mirren getting a lead actress nod for "Hitchcock" or Betty White's illustrious "Hot in Cleveland" run (and we love us some Betty White). This year there were some well deserved nominees who might have been overlooked in the past ("The Grand Budapest Hotel," Tatiana Maslany), some who are finishing up well-deserved runs ("True Detective's" Matthew McConaughey) and others whose awards run of glory is just beginning (Julianne Moore). There are also questions on whether the SAGs voting system is unfairly skewed towards films and TV shows that send screeners (not always possible) and the continuing issue of ethnic diversity among the nominees. »
- Gregory Ellwood, Kristopher Tapley, Daniel Fienberg, Matt Patches
See Also: Watch the trailer for Big Eyes
Big Eyes is based on the true story of Walter Keane (Christoph Waltz), who was one of the most successful painters of the 1950s and early 1960s. The artist earned staggering notoriety by revolutionizing the commercialization and accessibility of popular art with his enigmatic paintings of waifs with big eyes. The truth would eventually be discovered though: Keane’s art was actually not created by him at all, but by his wife, Margaret (Amy Adams). The Keanes, it seemed, had been living a lie that had grown to gigantic proportions. Big Eyes centers on Margaret’s awakening as an artist, the phenomenal success of her paintings, and »
- Gary Collinson
Director Hamish Hamilton returns to the show for the third time, after receiving an Emmy nomination for his work on last year’s telecast. He made his Oscar debut with the 82nd Academy Awards telecast in 2010. Hamilton has directed many other celebrated live televised events, including the 2014 Super Bowl halftime show featuring Bruno Mars, the 2013 Super Bowl halftime show featuring Beyoncé, the 2013 “MTV Video Music Awards” and the opening ceremonies of the 2012 London Olympics, for which he also received an Emmy nomination. He shared a 2011 Peabody Award for the fifth annual “CNN Heroes: An All-Star Tribute” and a 2003 Grammy Award nomination for the musical special “Robbie Williams – Live at the Albert.”
Production designer Derek McLane has been part of both Oscar »
- Michelle McCue
By Anjelica Oswald
The American Film Institute’s AFI Fest opens tonight in Hollywood with the world premiere of J.C. Chandor’s A Most Violent Year. The film stars Oscar Isaac and Jessica Chastain as a couple trying to run a business and live in New York City during 1981, which was statistically one of the city’s most violent years. This is Chandor’s first film to premiere in Los Angeles. Though the film is hoping to garner some Oscar nominations, only six of the past 14 films to open AFI Fest have gone on to receive Oscar nominations and none have been for best picture.
Of the six films to garner Oscar nominations, the only film to win an award was 2005’s Walk the Line, which resulted in Reese Witherspoon taking home the Oscar for best actress. The Johnny Cash biopic scored four other nominations, including film editing and best actor. »
- Anjelica Oswald
Exclusive: Lotus Entertainment has come aboard to co-finance and co-produce Hitchcock director Sacha Gervasi’s thriller November Criminals, which stars Chloë Grace Moretz and Catherine Keener. Beth O’Neil is producing with Lotus, which is also handling international sales at Afm. CAA and Wme are co-repping on the domestic side.
The screenplay from Steven Knight (Eastern Promises) is adapted from Sam Munson’s 2011 novel, a murder mystery about two teenagers thrown into the dangerous underbelly of Washington DC when they investigate the murder of their friend while falling in love for the first time.
Lotus has a full plate at Afm with international sales duties on Xavier Gens’ thriller The Crucifixion and Shekhar Kapur’s Tiger’s Curse as well as Replicas starring Keanu Reeves and Kidnap starring Halle Berry on its slate.
Gervasi and Knight are repped by CAA. Moretz is repped by Wme and Keener by Gersh.
- Jen Yamato
Just in time for Halloween, MTV has ordered a TV show based on the Scream horror franchise - though the Ghostface killer who so memorably terrorised the victims of Wes Craven's film series will notably be absent.
It seems that horror cinema remains a rich vein for television producers to tap. On top of the Scream news, it was reported back in August that NBC is working on its own version of Satanic thriller The Devil's Advocate.
But translating big-screens scares for television can be a tricky process and only a few movie chillers have survived the move in one piece.
Friday the 13th: The Series (1987-1990)
This spooky show bore little resemblance to the familiar series of slasher films, with producer Frank Mancuso, Jr. taking the name and little else. Like Scream's Ghostface, the most memorable aspect of the Friday the 13th pictures - hulking hockey-mask-sporting »
In David Cronenberg’s world, sex hurts so good; it’s innately disgusting and primeval but at the same time beautiful and becoming. (Kind of like sex in the real world, when you think about it.) Bodies degenerate and mental states corrode under the influence of lust, and yet something new is engendered by the collision of bodies, bodily fluids, the ripping of flesh and the mangling of organs. Through the carrion of ugly comes the attractive flesh, the new flesh. Videodrome, as Jonathan Lethem once quipped, remains Cronenberg’s most penetrative film; he creates a world at once rooted in modernity circa 1983–a world afraid of the advent of television usurping our humanity, over-stimulated times ushering in the end times–and existing in a timeless, placeless vacuum. It’s vast and claustrophobic, prescient and paranoid, of the same lineage as early James Cameron »
- Greg Cwik
In the gritty, sexy and scary old school tradition of exploitation and grindhouse art comes the kick-ass poster for Blanc/Biehn Productions’ latest fright flick, Fetish Factory, created by Los Angeles based artist Aaron Kai.
Aaron Kai’s meticulously executed, photorealistic film-inspired artwork has been featured globally from Hollywood to Tokyo to commemorate high-profile landmark events including Blade Runner: The Final Cut 25th Anniversary, The Bette Davis Centennial, and the Jules Verne Film Festival.
Fetish Factory is written and directed by Staci Layne Wilson, based on a story by Lony Ruhmann. The plot centers on pin-up vixens vs. bloodthirsty zombies, and is set in post-apocalyptic Hollywood. The film stars Carrie Keagan (Reno 9-1-1!), Chase Williamson (John Dies at the End), Jennifer Blanc (Everly, Havenhurst, Hidden in the Woods), Daniel Quinn (Rubber), Stephen Wastell (Criminal Minds), Jenimay Walker, (Serpent’s Kiss), Tristan Risk (American Mary), Emma Julia Jacobs (Hitchcock »
- Phil Wheat
We’re back with another edition of the Indie Spotlight, highlighting recent independent horror news sent our way. Today’s feature includes new details on Found Footage 3D and Mania, photos from Refuge and a poster from Fetish Factory, release dates announced for Skypemare, Soulmate, and The Inside, a trailer for When Black Birds Fly and Zombie Hood, and more:
New Details on Found Footage 3D: “…the producers of upcoming horror film Found Footage 3D announced the launch of their Indiegogo campaign to obtain additional funding for post-production and marketing expenses.
Produced by Kim Henkel, co-creator of The Texas Chain Saw Massacre, Found Footage 3D tells the story of a group of filmmakers who set out to make “the first 3D found-footage horror film,” but find themselves in a found-footage horror film when the evil entity from their movie escapes into their behind-the-scenes footage.
“What Scream did for slasher films, »
- Tamika Jones
Departure Day: When it comes to TV, is closure important?
If you happen to follow a decent number of TV critics on Twitter, you may have noticed a minor eruption of late. A schism has emerged, prompted by accounts like The Cancellation Bear, which concerns itself solely with the topic of whether or not series are likely to survive based on current ratings patterns. That may sound perfectly innocent on its own, but quite a few admirers have expressed the notion that they refuse to dive into a series if they get the sense that it will come to a premature end, thereby robbing them of closure. This idea has, naturally, left many critics incensed: isn’t TV a medium founded on chaos, on the thrill of working within limitations and at the whims of fickle audiences? Moreover, isn’t it silly to always want tidy resolution in the context »
Big Eyes is based on the true story of Walter Keane (Christoph Waltz), who was one of the most successful painters of the 1950s and early 1960s. The artist earned staggering notoriety by revolutionizing the commercialization and accessibility of popular art with his enigmatic paintings of waifs with big eyes. The truth would eventually be discovered though: Keane’s art was actually not created by him at all, but by his wife, Margaret (Amy Adams). The Keanes, it seemed, had been living a lie that had grown to gigantic proportions. Big Eyes centers on Margaret’s awakening as an artist, the phenomenal success of her paintings, and her tumultuous relationship with her husband, who was catapulted to »
- Gary Collinson
Before he was the one-line-loving, crassly, campy class clown known as Freddy, Fred Krueger was the stuff of genuine nightmares. Scarred and grinning in his striped wool sweater, Fred prowls the dreamscape realm of the local high schoolers, the children upon whom he once preyed before their parents got smart and burned him alive. Years ago, Fred was a janitor at the elementary school; he lured children into the boiler room, where, it’s insinuated, he molested and maimed the kids. Now, years later, he returns to haunt the dreams of the children of Suburbia, America. Craven conjures the most surreal imagery of his wildly uneven career here, and Robert Englund instills Craven’s iconic creation with sharp, wry kind of terror, his playful delivery still ironic before the sequels declawed him. He wears his ratty old fedora like »
- Greg Cwik
In the gritty, sexy and scary old school tradition of exploitation and grindhouse art comes the kick-ass poster for Blanc/Biehn Productions' latest fright flick, Fetish Factory.
Bbp commissioned Los Angeles based artist Aaron Kai to come up with a throwback concept and create artwork that would tell a story - using scenes from the film and building intrigue through visuals just like they did back in the 60s and 70s.
Aaron Kai's meticulously executed, photorealistic film-inspired artwork has been featured globally  from Hollywood to Tokyo to commemorate high-profile landmark events including Blade Runner: The Final Cut 25™ Anniversary, The Bette Davis Centennial, and the Jules Verne Film Festival. Prominent collectors of Kai's original works include Ridley Scott, Harrison Ford, and Clint Eastwood.
Steven Awalt – author interviewed by Todd Garbarini
“Well, it’s about time, Charlie!”
Dennis Weaver utters these words in my favorite Steven Spielberg film, Duel, a production that was originally commissioned by Universal Pictures as an Mow, industry shorthand for “movie of the week”, which aired on Saturday, November 13, 1971. The reviews were glowing; the film’s admirers greatly outweighed its detractors and it put Mr. Spielberg, arguably the most phenomenally successful director in the history of the medium, on a path to a career that would make any contemporary director green with envy. Followed by a spate of contractually obligated television outings, Duel would prove to be the springboard that would catapult Mr. Spielberg into the realm that he was shooting for since his youth: that of feature film directing. Duel would also land him in the court of Hollywood producers David Brown and Richard Zanuck and get him his »
- email@example.com (Cinema Retro)
Jeff Cronenweth grew up with cinematography in his bones. His father, Jordan Cronenweth, shot such unique achievements as "Altered States" and "Blade Runner" and it was never much of a question that Jeff would follow in his footsteps. Of late, he's forged a solid, on-going partnership with director David Fincher. Their latest collaboration, "Gone Girl," is another bold step for the icy aesthetic they've been cultivating for decades now. Over the weekend I hopped on the phone with Cronenweth — who was Oscar-nominated for his work on Fincher's last two films, "The Social Network" and "The Girl with the Dragon Tattoo" — to discuss that continued partnership, to chew on the old film vs. digital debate and to discuss some of the specifics of how "Gone Girl" was presented visually. Check out the lengthy back and forth below. "Gone Girl" is now playing in theaters. *** HitFix: I imagine at this point »
- Kristopher Tapley
"If I am remembered at all, it will be as the swine who rewrote Scott Fitzgerald," said Joseph L. Mankiewicz on numerous occasions, and though he does rate a mention in any Fitzgerald bio for his work revising Fitzgerald's screenplay of Three Comrades, he is also getting a sidebar retrospective, The Essential Iconoclast, at the New York Film Festival. Apart from including his several acknowledged classics, this also shines a light on some of the less celebrated movies in the distinguished Hollywood auteur's body of work.
In particular, The Late George Apley (1947) and Escape (1948) are seldom-screened dramas with suave English leading men, Ronald Colman and Mankiewicz favorite Rex Harrison, both supported by the delightful Peggy Cummins.
The Late George Apley supplements the emotion with a good portion of the wit Mankiewicz was so famous for. I spoke briefly on the telephone to co-star Cummins, best known »
- David Cairns
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