Emeraude Toubia, Matthew Daddario and Will Tudor in ‘Shadowhunters’ season 2 episode 15 (Photo: Freeform/Ian Watson)
Freeform’s Shadowhunters is taking a week off between season two episode 14 and season two episode 15 for the 4th of July holiday weekend. Episode 14 found Clary forced into kissing the man she most desires by the Seelie Queen, and the person she kissed wound up being Jace not Simon. Clary assured Jace the lengthy, passionate kiss meant nothing, but that statement didn’t fool anyone. The episode also found Isabelle and Raphael ending their relationship, Isabelle and her mom having a heavy heart-to-heart chat, and revealed Sebastian has some unknown person locked up in his closet.
Episode 15 titled ‘A Problem of Memory’ and airing on July 10, 2017 will likely address the repercussions of Clary choosing Jace as the very brief plot description involves Simon going down a dark path.
The season two cast includes Katherine McNamara as Clary Fray, Dominic Sherwood as Jace Wayland, Alberto Rosende as Simon Lewis, Emeraude Toubia as Isabelle Lightwood, Matthew Daddario as Alec Lightwood, Isaiah Mustafa as Luke Garroway, and Harry Shum Jr. as Magnus Bane. Guest stars include David Castro as Raphael and Will Tudor as Sebastian.
The “A Problem of Memory” Plot: Simon goes down a dark path while Alec and team prepares to transport Valentine.
Harry Shum Jr and Matthew Daddario in ‘Shadowhunters’ season 2 episode 15 (Photo: Freeform/John Medland)Alberto Rosende and Katherine McNamara (Photo: Freeform/John Medland)Emeraude Toubia in ‘Shadowhunters’ (Photo: Freeform/Ian Watson)Harry Shum Jr and Matthew Daddario in ‘Shadowhunters’ (Photo: Freeform/John Medland)Emeraude Toubia and Dominic Sherwood (Photo: Freeform/Ian Watson)
Hulu’s upcoming original series Castle Rock has just signed up Oscar winner Sissy Spacek (Coal Miner’s Daughter) and Jane Levy (Don’t Breath, Evil Dead) for starring roles. The psychological horror series is set in Stephen King’s world and “combines the mythological scale and intimate character storytelling of King’s best-loved works, weaving an epic saga of darkness and light, played out on a few square miles of Maine woodland. Castle Rock is an original suspense/thriller — a first-of-its-kind reimagining that explores the themes and worlds uniting the entire King canon, while brushing up against some of his most iconic and beloved stories.”
Per Hulu, Spacek will play Ruth Deaver, “estranged adoptive mother of Henry (Andre Holland), a retired professor whose fading memories may hold a key to Castle Rock’s unsettling past.” Levy has been cast as Jackie, “the death-obsessed, self-appointed historian of Castle Rock.”
J.J. Abrams, Ben Stephenson, Liz Glotzer, Sam Shaw and Dustin Thomason are executive producing. Castle Rock is a Bad Robot Productions and Warner Bros. Television production, and season one is set to consist of 10 episodes.
Sissy Spacek’s recent credits include Bloodline, Deadfall, The Help, Gimme Shelter, Big Love, Get Low, and Four Christmases. Levy’s recently been featured in Twin Peaks, I Don’t Feel at Home in This World Anymore, There’s…Johnny!, Monster Trucks, and Frank and Cindy.
Joseph Gilgun as Cassidy and Tom Brooke as Fiore in ‘Preacher’ season 2 episode 2 (Photo Credit: Skip Bolen / AMC / Sony Pictures Television)
AMC’s Preacher season two episode two picks up with The Cowboy (Graham McTavish) taking aim and firing at Jesse (Dominic Cooper). Fortunately for Jesse, an Alonso’s Old Tyme Axle Grease delivery truck drives into the bullet’s path. The driver is killed and the truck crashes into The Cowboy. The crash brings out a horde of attendees of the Greater Association of Gun Aficionados, all armed to the teeth. It also brings out Cassidy (Joseph Gilgun). They all watch as The Cowboy walks away from the crash unscathed.
Jesse commands the gun lovers to stop The Cowboy and they open fire, causing the truck to explode. They cheer, but The Cowboy emerges from the smoke without a scratch. Bullets can’t take him down and he shoots the gun owners, one after another.
Meanwhile, Tulip (Ruth Negga) is fixated on the television and missed the action on the street in front of the motel. The news is reporting the explosion in Annville and that survivors are unlikely as Jesse and Cassidy enter the room. Only when the TV is shot do Tulip, Cassidy, and Jesse flee the room and take cover in a stairwell. They watch as The Cowboy continues killing anyone he sees, and Jesse explains Genesis doesn’t work on this killer.
A victim of The Cowboy wanders into their hiding spot, uses the soda machine, and complains when he receives Ginger Ale instead of Root Beer. He’s loud but The Cowboy doesn’t turn around until Jesse uses Genesis to make the stranger be quiet. They escape out a window barely in time.
The next morning when they stop for gas, Cassidy offers up three possible explanations. One, The Cowboy is a Terminator sent from the future to kill one of them. Two, Terminator 2 sent from the future to kill all three of them. Or three, he’s a Nazgul from Lord of the Rings. Jesse has no idea and can’t reach Mike to ask for answers.
They wonder if The Cowboy blew up Annville and how they’re going to find God with a killer on their tail when Cassidy notices a family wearing Ganesh T-shirts. Cassidy thinks Ganesh can help them.
Flashback to a few days prior with Fiore the angel (Tom Brooke) boarding a bus to Mumbai Sky Tower casino. He checks in and tries to hang himself in his room, but fails. He then hits the casino floor, wins a bag full of chips, and heads back up to his room to try and use the bag to suffocate himself. Every time he kills himself, he’s resurrected.
When he electrocutes himself during Frank Patel’s lounge act and then appears miraculously alive on stage, he’s shocked to observe the audience reacting with a loud round of applause. Patel becomes his assistant and The Amazing Ganesh takes over as the featured act at the Mumbai Sky Tower.
Patel can chop off Fiore’s head, shoot him in the head with an arrow, saw him in half with a chainsaw… It doesn’t matter because The Amazing Ganesh is resurrected in front of cheering audiences.
Jesse explains to Tulip that Fiore and his partner were the ones who told him about Genesis. Tulip’s unimpressed and heads off in search of a drink while Jesse and Cassidy meet with Fiore. They tell him about The Cowboy and he informs them The Cowboy is actually the Saint of Killers. “He’s a beast straight out of hell,” explains Fiore. “He doesn’t want Genesis for himself. He wants to kill it – and you – and there’s nothing anyone can do to stop him except me because I’m the one that hired him.”
Fiore goes on to explain he hired the Saint of Killers because Genesis is too dangerous to exist within Jesse. When Jesse threatens to make Fiore fire the Saint of Killers, he realizes how The Cowboy’s tracking them. When he uses Genesis, The Cowboy gets a bead on his position.
Jesse informs Fiore they found out God is missing, something Fiore didn’t know. Jesse warns Fiore that if The Cowboy isn’t stopped and Genesis is destroyed, they’ll never find God. Fiore admits he hasn’t been happy since he came to earth and now he doesn’t give a crap about what happens. He refuses to help them.
After Fiore heads back out on stage, Jesse tells Cassidy his plan is to use Genesis, bring The Cowboy here, and make the angel call him off. Cassidy disagrees and wants another crack at Fiore, swearing he has a skill set that can help. He claims it will only take him two hours and 45 minutes to get Fiore to help them.
Elsewhere in the casino, Tulip’s looking sad and nursing her drink. She confesses to Jesse she’s mourning the death of Walter, the only family member she had left. She recalls he wore a suit and tie just for her on the first day of school.
Graham McTavish as The Saint of Killers in ‘Preacher’
Jesse and Tulip head up to a room, have sex, and then discuss their plans. If Cassidy gets the Saint of Killers off their backs, they’ll keep looking for God. Tulip reminds him he doesn’t have a church anymore, but Jesse thinks God has a lot to answer for – including their hometown blowing up. Tulip thinks Jesse will figure it out and Jesse just up and pops the question! Tulip’s shocked when Jesse says there’s a wedding chapel in the lobby and they could get married right now.
While Jesse and Tulip are considering tying the knot, Cassidy has a blow torch and is ready to deal with Fiore.
Tulip slaps Jesse across the face, telling him he always said marriage was stupid. Jesse turns the tables on her and says she’s the one who hates marriage. Plus, Tulip believes she’s just received the worst marriage proposal ever.
Cassidy points out items laid out on a table including heroin, lemon juice, and rock cocaine. Cassidy believes a speedball will cheer up Fiore. He injects him in the throat and it kills Fiore. He’s resurrected – and high – and they proceed to go bonkers in the hotel room. Frisbee’s played, beach balls are tossed, and basketballs are shot. They build a fort, read Archie comics, and talk about where dead angels go if live angels reside in heaven. There’s naked hugging, ice cream eaten, and tons of more drugs injected. The two-hour and 45 minute countdown clock now reads three minutes and 27 seconds.
Tulip and Jesse take a number at the busy chapel and then head to the bar. They agree this is crazy, but Tulip chimes in that it’s “awesome crazy.” She gets distracted when she sees someone she recognizes at the bar and follows him upstairs. She loses him but makes it back to her room only to discover the man, whose name is apparently Gary, knocking on her door.
Jesse waits downstairs at the bar and has a conversation with Frank Patel. Patel says no matter what, the answer is always music. A light bulb goes on, literally, as Jesse recalls, “He came for the jazz.”
Cassidy and Ganesh arrive and Jesse lets Cassidy know he’s figured out where to look for God. Jesse says they can hit the road again right after he and Tulip get married, a turn of events that shocks Cassidy. Cassidy decides it was meant to be and acts supportive.
Tulip and Gary exchange pleasantries and she invites him into her hotel room. They know each other from Louisiana and Tulip tries to play off her relationship with Jesse as just “work associates.” Gary doesn’t buy it and tells her Victor’s been looking for her. Tulip says she’s been meaning to get in touch with Victor, so Gary offers her his phone. She declines, saying she has a “thing” she has to do. She asks him to cut her a break and say he didn’t see her, but Gary can’t do that.
Gary starts to make the call for her and she knocks the phone from his hand. Gary, a large, powerful man, easily gets the upper hand and drags her about the room by her neck, trying to get a cell phone signal. Tulip finally hits him hard and then tells him he can’t do this today. He threatens to kill her and they go at it, with Tulip bashing his head in leaving blood everywhere. Cassidy arrives at the end of the fight and she tells him not to tell Jesse just as the buzzer goes off, signaling their turn has arrived at the wedding chapel.
Ganesh/Fiore waits with Jesse in the chapel for Tulip to show up, and Fiore assures him he’s called off the Saint of Killers. But when Jesse asks if he can use the voice again, Fiore tells him no way because Genesis isn’t a toy. They argue about Eugene being stuck in Hell, and Jesse does eventually agree Genesis is not a toy. However, if using it will bring him closer to finding God, he’s going to use it.
Tulip arrives and she’s decided they shouldn’t get married right now. Marriage is stupid, but they love each other and that’s all that matters. Jesse’s okay with that and Tulip thanks Fiore for helping them with their search for God.
As they prepare to leave, Cassidy gives Fiore a hug and it seems Fiore’s genuinely sad to see him go.
Cassidy lets Jesse know he’s sorry the wedding got called off, and Jesse responds by acting suspicious that something happened upstairs between Cassidy and Tulip. Cassidy lies and says nothing went on (failing to mention the dead Gary).
Fiore wishes Jesse good luck and admits he’s never actually met God himself. Jesse reveals that since God likes jazz, they’ll be heading to New Orleans next. As they drive away, Jesse uses the voice to tell Fiore to find peace.
Fiore heads back to his room which still has beach balls, a tent, and other assorted items from his afternoon with Cassidy littering the room. He makes it to his dressing room and repeats “find peace” just as The Cowboy arrives.
The Cowboy says their deal still holds and Fiore says, “Kill Genesis and you’ll see your family again.” Fiore realizes Jesse will just keep using the voice and informs The Cowboy that Jesse is headed to New Orleans.
Before The Cowboy can leave, Fiore informs him he has another job for him: he wants out. Soon after The Amazing Ganesh takes the stage, The Cowboy shoots him and this time he’s not resurrected. The crowd boos as on the stage Fiore looks peaceful – and quite dead.
Okja the super pig is stolen from a young South Korean girl by a corrupt, money-grubbing corporation led by a narcissistic, entitled white woman in Netflix’s riveting dramatic film Okja. Debuting on June 28, 2017, Okja star 13-year-old South Korean actress An Seo Hyun is an incredible performer, a mesmerizing actress capable of commanding the big screen and evoking a wide range of emotions while working with very limited dialogue. If you don’t want to hug her, adopt her, or make her your best friend by the end of Okja, you’re a heartless human being.
Bong Joon Ho (The Host, Snowpiercer) has created yet another uncompromising, timely, and complicated film, this time addressing a myriad of topics including the meat industry, capitalism, entitlement, and our relationship with animals. The title character is a CG creation, however, one so brilliantly brought to life that it’s easy to imagine this dog-like pig is a beloved family pet and the best friend of a young girl named Mija who doesn’t have many human companions to rely on.
It’s the love of a little girl for a pig she raised from a tiny piglet that powers Okja. The film follows Mija as she attempts to rescue her best friend after the evil Mirando Corporation determines Mija’s pig is the best of all the genetically altered super pigs in existence. Okja is chosen to represent the breeding program and is basically stolen from Mija and her idyllic existence and brought to America to be put on display. The relentless, determined Mija tracks down Okja, refusing to give up on the return of her pig even against all odds.
Okja’s journey to America involves a game-changing encounter with animal activists played by Paul Dano (Swiss Army Man), Steven Yeun (The Walking Dead), Devon Bostick (The 100), and Lily Collins (The Last Tycoon). Mija and Okja also have multiple run-ins with Dr. Johnny Wilcox (Jake Gyllenhaal), a mentally unstable animal TV show personality who’s a spokesperson for the Mirando Corporation. However, ultimately it’s the mercurial head of Mirando Corp, Lucy Mirando (Tilda Swinton), and her ruthless sister, Nancy (also played by Tilda Swinton), who hold Okja’s fate in their hands.
Of course, writer/director Bong Joon Ho addresses animals as food and how a pig goes from squealing one minute to a dinner table the next in this unforgettable tale. But that’s not the film’s sole purpose, even as it spends an uncomfortable though short span of time focusing on exactly how meat is processed and made ready for grocery stores. Corporate greed and the idea of an American company believing it’s entitled to steal what it desires are the constant threads flowing through Okja’s story.
The supporting cast is fantastic, the CG is flawless, and Okja’s beautifully shot. Bong Joon Ho mixes comedy, adrenaline-pumping action, and the occasional heartbreaking moments to draw in the audience, even spooning in a little slapstick humor where it’s least expected. Boon Joon Ho’s Okja makes us think while providing two hours of entertainment. It’s a wonderful, profound film, and the friendship between Mija and her pet pig is truly inspirational.
Nickelodeon’s getting a jump on other networks with its announcement of panels and exhibits set for the 2017 San Diego Comic Con. Nickelodeon plans to show off Rocko’s Modern Life, Hey Arnold!, SpongeBob SquarePants, and Teenage Mutant Ninja Turtles during the sold-out convention running July 20-23, 2017 in downtown San Diego. The network will be setting up interactive exhibits, holding talent signings, and taking part in panels over all four days of this year’s Comic Con.
A 23′ tall pineapple will help fans locate Nickelodeon’s booth (#4113) on the jam-packed convention center floor. The massive pineapple houses an interactive gaming experience that will let fans of SpongeBob Squarepants feel like they’re visiting the show’s world. The booth will also feature appearances by voice cast members and animation creators.
Nickelodeon’s Comic Con Panels:
Rocko’s Modern Life: Return to Earth!
Thursday, July 20: Fans will be shouting, “Oh my!” and “SPUNKYYY!,” when Nickelodeon’s beloved and wacky series Rocko’s Modern Life lands in San Diego. Original show creator Joe Murray, Cosmo Segurson (director) and the voice cast of O-Town’s popular residents–Carlos Alazraqui (Rocko), Tom Kenny (Heffer), Mr. Lawrence (Filburt), Charlie Adler (Mr. Big Head and Mrs. Big Head)–will dive deep into the lore of this animated classic and what to expect from Rocko’s return to the TV screen, including an exclusive sneak peek at the special. The panel will be moderated by Marc Snetiker (Entertainment Weekly).
Hey Arnold!: From Hillwood to the Jungle!
Friday, July 21: Rejoice in the return of Arnold, Gerald, Helga and all of the Hillwood neighbors, with the series’ classic voice actors Lane Toran (Arnold), Jamil Walker Smith (Gerald), Francesca Marie Smith (Helga), and Anndi McAfee (Phoebe) and the new generation of talent featured in the upcoming TV movie–Mason Vale Cotton (Arnold) and Benjamin “Lil’ P-Nut” Flores, Jr. (Gerald). This panel will also feature a live musical performance by composer Jim Lang and an introduction to never-before-seen footage of the TV movie by show creator Craig Bartlett. The panel will be moderated by Marc Snetiker (Entertainment Weekly).
Tales of the Teenage Mutant Ninja Turtles
Friday, July 21: Executive producer Ciro Nieli will explore the thrilling story arcs and give fans an inside look at season five of Teenage Mutant Ninja Turtles. Joining the discussion are legendary creators and collaborators Kevin Eastman and Stan Sakai (Usagi Yojimbo), as well as the talented voice cast from the series: Sean Astin (Raphael), Rob Paulsen (Donatello), Greg Cipes (Michelangelo), and Eric Bauza (Tiger Claw). The panel will be moderated by Andre Meadows (Black Nerd Comedy).
SpongeBob SquarePants: The Legend of Boo-kini Bottom
Saturday, July 22: Celebrate Halloween in July as Vincent Waller (supervising producer), Marc Ceccarelli (supervising producer) and Mr. Lawrence (story editor, voice of Plankton) are joined by Chris Finnegan, Seamus Walsh and Mark Caballero (Screen Novelties) to share behind-the-scenes footage from the upcoming SpongeBob SquarePants stop-motion special. Plus, see panelists Tom Kenny (SpongeBob), Bill Fagerbakke (Patrick), Rodger Bumpass (Squidward) and Carolyn Lawrence (Sandy) do a live table read of a fan-picked classic Halloween episode and also be on the lookout for a special appearance by one of Bikini Bottom’s spookiest citizens. The panel will be moderated by Claudia Spinelli (Executive in Charge, SpongeBob SquarePants, Nickelodeon).
ABC’s comic book-inspired series Marvel’s Inhumans is set to premiere on Friday, September 29, 2017 at 8pm ET/PT. Prior to the sci-fi series’ television debut, Marvel’s Inhumans will offer up a “version of” the show’s first two episodes in IMAX theaters for two weeks, kicking off on September 1st. ABC will then air the first two episodes back-to-back on September 29th.
The cast of Marvel’s Inhumans includes Anson Mount as Black Bolt, Iwan Rheon as Maximus, Serinda Swan as Medusa, Eme Ikwuakor as Gorgon, Isabelle Cornish as Crystal, Ken Leung as Karnak, Ellen Woglom, Sonya Balmores as Auran, and Mike Moh as Triton. Scott Buck serves as showrunner on season one of the family drama. Buck is also an executive producer along with Marvel’s Jeph Loeb and Jim Chory. The first two episodes were directed by Roel Reiné (Blood Drive, Black Sails).
The Plot:Marvel’s Inhumans explores the never-before-told epic adventure of the royal family including Black Bolt, the enigmatic, commanding King of the Inhumans, with a voice so powerful that the slightest whisper can destroy a city. After the Royal Family of Inhumans is splintered by a military coup, they barely escape to Hawaii where they are greeted with surprising interactions with the lush world and humanity around them. Now they must find a way to reunite with each other and return to their home before their way of life is destroyed forever.
Edgar Wright (Shaun of the Dead, Scott Pilgrim vs the World) had a celebrity guest for the press screening of Baby Driver. Joel Coen was spotted in the theater the night before roundtable interviews with Wright and the Baby Driver cast. Wright would explain Coen’s presence as well as the ins and outs of making a musical car chase film during our interview.
Ansel Elgort plays Baby, a getaway driver for Doc (Kevin Spacey). Baby coordinates his driving to songs he plays on his iPod. Baby would like to get out and have a normal life with Debora (Lily James), the waitress he meets at a diner. Doc has other plans for him, and a job with Bats (Jamie Foxx), Buddy (Jon Hamm), and Darling (Eiza Gonzalez) goes south for Baby and everyone involved. Baby Driver opens Wednesday, June 28, 2017.
Did you know Joel Coen was at the screening? Did you invite him?
Edgar Wright: “I did because he e-mailed me and said, ‘I’m in L.A. What are you doing later? Do you want to get dinner?’ I said, ‘Well, do you want to see my movie and then we get dinner afterwards?’ And he said yes.”
Was he a fan?
Edgar Wright: “I mean, he really loved the movie so that was amazing.”
The sound design is so sophisticated. How did you coordinate when sounds would go up or only be in the rear, to simulate what Baby is hearing?
Edgar Wright: “I’ve worked with the same sound team on all of my movies since Shaun of the Dead. An amazing sound designer Julian Slater, but also in collaboration with my editors as well. One of the crazy things with this, and some of the actors could tell you the same thing, is that when I first put all the songs together and presented it to the studio and to the actors, I did these mixes of the songs where we put all the sound effects in. I was with this guy, this British DJ called Osymyso, a palindrome.
Together, we did these mixes of songs for the big set pieces where I had all the sound effects in there. So as you were listening to it, you could really get a sense of what the movie would be like. So, there are things like the gunfights in time with the music, like the ‘Tequila’ scene and the scene with ‘Hocus Pocus,’ I have a mix of that song with those gun fights edited in dated back to 2008. I’ve been thinking about it for that long, basically. When I first started writing it 10 years ago, that was literally the first thing I did. Before I’d written a single word, I put together those songs as like I know what’s going to happen here. People would listen to it and say, ‘I get the idea. It’s police sirens in time with the music and the gunfights are in time with the music.’ It’s all planned from a long way back.”
Is it like doing an opera with a prerecorded soundtrack?
Edgar Wright: “That’s exactly what the great director Joel Coen said last night. He said it’s like an opera.”
Ansel is so perfect for this. Was it written with him in mind?
Edgar Wright: “No, because when I started writing 10 years ago, he was 13. No, it wasn’t written with him in mind but it is that thing. I can’t imagine anybody else doing it.”
How did you decide on this cast?
Edgar Wright: “I started here. It was three years ago when I was doing a new draft and we were going to present it to the studio. We knew the first question was going to be: who the hell is going to play this lead part? There’s not that many young name actors out there so I sort of met everybody that was out there. Ansel was somebody that very quickly became the favorite, just because he’s very charismatic. He really knows how to hold the screen and also he had a musical background as well. He really connected to the script in a way that was interesting and surprising to me. That was it, really.
Lily, I’d never met her before. I auditioned her and I was really charmed by her and I thought it would be an interesting thing, especially as her first U.S. role. I think she’s quite sort of a chameleon. She’s been in obviously some big things, like Downton Abbey and also Cinderella was a massive hit but she doesn’t always get recognized on the street because she looks different from role to role. I showed this to somebody and they said, ‘Who’s that actress? Where have I seen her before?’ I said, ‘Did you see Cinderella? He goes, ‘Yeah, who did she play?’ I said, ‘She played Cinderella. I think that’s a positive thing for her that she looks different in every part.”
How has the story changed in the 10 years you were developing it?
Edgar Wright: “I had the basic premise of it for years and years. One of the earliest things I knew I wanted was this escalation of heists. You see three heists and each one gets stickier and more complicated. The structure of the movie started with the dream chase. For any boy racer, here’s your fantasy of being a getaway driver, like been playing a lot of Grand Theft Auto. Oh boy, you could really do it and not a scratch on the car, nothing goes wrong, nobody gets hurt. Second heist, immediately things start to go wrong.
Unlike the games and unlike the more fanciful movies out there, you’re presented with tough, morally complex situations where members of the public are now involved. People are getting hurt. Members of your gang are being killed. You carjack a car so there’s a baby in the back. I tried to make each situation as sticky as real life is.
By the time you get to the third heist, then Baby should make life or death decisions himself. It was really just that thing of amping up the stakes and showing the moral consequences and showing the human collateral of it. Also the idea that even if you did the right things at the right times, as a getaway driver you are completely complicit in the crime and you will also be treated as a public enemy like the rest of them.”
How did the songs change over the years you were writing this?
Edgar Wright: “I picked all the songs. They were all written into the scripts. Only about five or six things changed. I think the ‘Easy’ by the Commodores wasn’t in the original draft. I put that in later because it was Ansel’s favorite song. I thought that was an interesting thing to bring into it. And then some dance tracks dropped out because they were just basically unclearable. Sometimes you get into things where some labels are saying you cannot use this song because the samples are not cleared.”
Was “Smooth Criminal” off limits because of money?
Edgar Wright: “I never tried to clear it. That was just the story that this guy had. I’m not sure I would’ve put ‘Smooth Criminal’ in the movie.”
Did you always intend to have such strong co-stars?
Edgar Wright: You obviously want strong actors to play those parts. I must admit, in the greatest way, I didn’t know I was going to get people as big as Kevin and Jamie to play those parts, but as soon as they responded to the script and wanted to do it, it has a huge impact on the movie. Jon as well, and then also casting Ansel at the proper age.
Casting a 21-year-old actor instead of casting somebody who’s 29 playing 21, it just immediately has a real visceral impact of these actors who are real heavyweights terrorizing the new kid. I mean, some of my favorite scenes in the movie, there’s a point in the movie where Kevin, Jamie and Jon are all turning on Ansel. It’s incredibly intense.”
What was the most dangerous car chase to film?
Edgar Wright: “They’re all tough in different ways. The first chase is just the complexity of it because the actors are involved as well. There’s obviously the stunt driving shots which are insane, like that shot in the alley where Jeremy Fry makes a 180 out and nearly clips the car is amazing. But then that sequence is not like a dangerous shot but it’s just a complicated shot where Ansel is driving down the freeway ramp and watching the red cars go the other way and then turns to follow them.
Just watching that about to happen, you think, ‘Oh boy, if we mess up this timing, it’s going to take 40 minutes to reset this.’ Because people have to get off the off ramp and go all the way back around six miles back through non freeway traffic. You can imagine something like that, you just see it coming and you’re just thinking, ‘Here we go.’ There’s those kinds of things. The second chase with the thing where they’re being pushed under the truck is pretty crazy.”
And the embankment?
Edgar Wright: “It’s all cool. It’s all cool and it’s all extremely complicated.”
Is Jamie’s name Bats short for batshit crazy?
Edgar Wright: “Yeah, basically.”
Was it important that Baby was a child prodigy?
Edgar Wright: “I think one of the things in the movie, criminals won’t offer up their past willingly. If you listen in the movie, most of the people are telling somebody else about the other person, so there’s this element of myth there. So Spacey tells Foxx about Baby but you immediately get the sense that this story has been mythologized a little bit. Same way that Jamie says to Jon, ‘I know what your story is,’ but Jon doesn’t say anything. The fact that Jon doesn’t say anything means that you know that Bats has got close to the truth and it’s a raw nerve.
Even the thing of Baby’s made all those tapes about himself, he’s kind of this self-mythologizing thing. I think in his head, he’s trying to compartmentalize; he knows he’s doing bad things but he’s trying to just feed off the myth of being the young driver. I think a lot of what Spacey says in that thing is true. This kid was a joy rider and is out stealing cars as a teenager, a joy rider. He steals Kevin Spacey’s car without knowing who Spacey is. Had some merchandise in it. The car gets trashed or lost and then he owes Kevin Spacey money. And rather than be killed, Kevin Spacey’s smart enough to say, ‘Oh no, now you’re working for me.’
Would you do a Baby Driver 2?
Edgar Wright: “I would. That’s not up to me. It’d be cool. I have ideas.”
Dwayne Johnson, John David Washington, and Omar Benson Miller in ‘Ballers’ (Photo: Jeff Daly / Courtesy of HBO)
HBO’s half-hour comedy Ballers returns on July 23, 2017 at 10pm ET/PT starring Dwayne Johnson as a former NFL player who’s transitioned into the world of financial management. Ballers was created by Stephen Levinson and is executive produced by Johnson, Levinson, Mark Wahlberg, Dany Garcia, Peter Berg, Evan Reilly, Rob Weiss, Julian Farino, Denis Biggs, and Karyn McCarthy. In addition to Dwayne Johnson, the season three Ballers cast includes Rob Corddry, John David Washington, Omar Benson Miller, Donovan Carter, Troy Garity, London Brown, Jazmyn Simon and Dulé Hill. Guest stars include Richard Schiff, Steve Guttenberg, Steven Weber, Emayatzy Corinealdi and Serinda Swan.
The Season 3 Plot: After baring his soul at the rookie symposium and undergoing hip surgery, Spencer Strasmore returns with a new outlook and fresh goals, hoping to forge bonds with new players across the country while improving his relationships with existing clients. With league certification in hand, Joe Krutel and Spencer go after a jackpot deal. Ricky Jerret’s newfound discoveries affect his personal and professional life; Vernon Littlefield and Reggie accept a risky endorsement deal; ex-player Charles Greane learns that working in the front office is as rough as playing on the gridiron; and Jason Antolotti continues to orchestrate deals to satisfy both players’ bank accounts and their oversized egos.
In an ever-changing business where the shelf life for stardom and multi-million-dollar contracts are short, Spencer is intent on proving that the key to successful sports management isn’t just about making money and having fun – it’s about delivering on the promises you make. Looking at the whirlwind lifestyles and real-life problems of former and current football players, Ballers stars Dwayne Johnson as ex-superstar Spencer Strasmore, who has reinvented himself as a financial manager for today’s players in sun-soaked Miami.
Ballers July 2017 Episodes:
Episode #21 (season 3, episode 1): “Seeds of Expansion”
Debut date: SUNDAY, JULY 23 (10:00-10:30 p.m. ET/PT)
Looking to score high-profile clients to pay off his debts to Ricky (John David Washington) and Vernon (Donovan Carter), Spencer (Dwayne Johnson) hits a roadblock with Mr. Anderson (Richard Schiff), who wants to focus on the Las Vegas market by partnering with casino magnate Wayne Hastings, Jr. (Steve Guttenberg). Ricky ponders fatherhood; Vernon (Donovan Carter) and Reggie (London Brown) eye an edgy endorsement; Larry (Dulé Hill) makes Charles (Omar Benson Miller) the face of bad news at a team press conference.
Written by Rob Weiss; directed by Julian Farino.
Episode #22 (season 3, episode 2): “Bull Rush”
Debut date: SUNDAY, JULY 30 (10:00-10:30 p.m.)
In Las Vegas on business, Spencer (Dwayne Johnson) gets reacquainted with Chloe (Serina Swan), an old flame now working for Wayne (Steve Guttenberg), while Ricky (John David Washington) challenges the odds in a game of dice. Set up by Joe (Rob Corddry) to represent top running back Kisan (Kris Lofton), Jason (Troy Garity) ends up sweating it out in a tough neighborhood. Charles (Omar Benson Miller) gets a public-speaking primer from Julie (Jazmyn Simon); Vernon (Donovan Carter) and Reggie (London Brown) make a risky endorsement deal.
Written by Evan Reilly; directed by David Katzenberg.
Jackie Chan takes on Pierce Brosnan in the new trailer for The Foreigner, an action drama directed by Martin Campbell (Casino Royale). The film’s based on Stephen Leather’s novel The Chinaman and was adapted for the screen by David Marconi. Jackie Chan served as a producer along with Wayne Marc Godfrey, Arthur Sarkissian, Qi Jian Hong, Claire Kupchak, Scott Lumpkin, Jamie Marshall, and Cathy Schulman. STXfilms is targeting an October 13, 2017 theatrical release.
The Plot:The Foreigner is a timely action thriller from the director of Casino Royale. The film tells the story of humble London businessman Quan (Chan), whose long-buried past erupts in a revenge-fueled vendetta when the only person left for him to love — his teenage daughter — is taken from him in a senseless act of politically-motivated terrorism. In his relentless search for the identity of the terrorists, Quan is forced into a cat-and-mouse conflict with a British government official (Brosnan), whose own past may hold clues to the identities of the elusive killers.
Baby Driver’s world of colorful criminals is cast with an equally colorful list of A-list actors. Ansel Elgort plays Baby, the musical prodigy getaway driver who plans his escapes based on the timing of his favorite songs. He meets Debora (Lily James) and hopes to get away with her, but he’s saddled with some unwilling accomplices: Jon Hamm as Buddy, Eiza Gonzalez as Darling, and Jamie Foxx as Bats. That’s not even including Kevin Spacey as the mastermind, Doc.
The cast of Baby Driver joined writer/director Edgar Wright at the film’s press junket in Los Angeles. Elgort, James, Hamm, Gonzalez, and Spacey talked about their characters and working on the film with Wright. Baby Driver opens Wednesday, June 28, 2017.
Did you coordinate your outfits black, white and grey this morning?
Ansel Elgort: “Yeah, if you notice, all the characters have their colors but Baby and Debora are black and white.”
Would you each talk about your characters?
Lily James: “Just a girl working at a diner. And then this guy kind of walks in and I think you get the sense that they’re both these kind of old souls. They bond over music and they dream of escaping their sh*tty lives and they give each other something to live for, I think, and a reason to commit to this romantic notion of hitting the road and never looking back and starting a new life.”
Ansel Elgort: “I think it’s sort of an impulsive relationship but it’s super real and it’s not influenced by anyone else or any ulterior motives, which is why I think it comes across so lovely on screen. It’s such a pure relationship.”
Jon Hamm: “I think what Edgar’s done in this film is create sort of paradigms, right? So we have these kind of primary colors in many ways, right? Bats is bright red. Bats is literally a red flag. You look at the guy and you go, ‘Oh sh*t.’ Buddy and Darling are this kind of binary star. Eiza makes the observation a lot where every time you see us, we’re kind of touching one another. We’re a duo. Baby and Debora are always in black and white. They’re not quite formed yet. That was the jumping off point for me to kind of understand these people. Edgar is a remarkably talented individual who has a very specific vision, each one of his films. And you’re not getting him off that vision. He’s driving that train. He’s the hardest working guy on set all the time. He’s on first unit. He’s one second unit. He does not sleep. He does not do anything but make this movie until this movie is made. I am virtually certain that this resonates throughout the whole cast. That’s what you want in a director. You want that guy.”
Eiza Gonzalez: “Ed cares.”
Jon Hamm: “You want that guy who ain’t gonna take no for an answer. He’s going to fight for what he wants and he’s going to make the best movie he can. It’s such a pleasure to be in that movie. It’s such a pleasure to be in this movie.”
Jamie Foxx: “Literally, Edgar had it all mapped out. He crafted Bats as sort of the real criminal. This is going to be a weird example but when I watch the movie Set It Off, when I watched it with a Hollywood crowd, they all laughed when they were supposed to laugh and cry when they were supposed to cry. But then I went and watched it at Universal with regular folks. I was sitting with some dudes, the guys in back of me, every gun that was pulled out, they named it. ‘Oh yeah, that’s that .350.’ Every time Queen Latifah shot her gun, he went, ‘Blam, blam, blam! Get him, get him, get him.’ He named every gun. There was a black girl sitting right here and every time something went down that wasn’t correct procedure, she went, ‘Oh uh uh, no. That’s federal, that’s federal. Ain’t no way, he can’t even front. He can’t even look into it. That’s not his jurisdiction.’
My thing was to make Bats the person who, the people who know those types of characters, to make him that. This may be a show for everybody else, but Bats is really like, ‘No, we can’t have these loose ends. This dude, I gotta kill him. We gotta kill everybody or we’re going to jail.’ His intelligence was street intelligence. When you meet people that are street smart, it’s a whole different energy. They can be in this room and we’ve all seen ‘em. Whether they be black or white or whatever they are, there’s a different truth to them. We sort of live in a world of make believe and we want the world to be whatever it is. These guys believe in real serious consequence.”
Eiza Gonzalez: “Yeah, because they’re real characters.”
Is Baby doomed to be unhappy because of his childhood trauma?
Ansel Elgort: “I think Baby is not overly damaged. I wouldn’t think of Baby as a victim. I never thought of him as a victim. I always thought of him as okay, you have this thing but he’s good at rolling with the punches. Now his foster father, he looks after him. He likes looking after him but he definitely dreams of a better life. But he’s not depressed or anything.”
Did each of you discover some new music from working on Baby Driver?
Lily James: “Wow, loads of new music. It was really fun. I loved it. We’d be doing these epic long night shoots sat in a car together for hours on end. Ansel would play me all his new tunes and he’d be working on them and mixing them and laying down all the different, what’s it called?”
Ansel Elgort: “I was just playing my works in progress.”
Lily James: “And it was so fun. By the end I was singing the melody along with him. I loved it. I was a big fan of Ansel’s so that was a real highlight for me.”
Ansel Elgort: “The Carla Thomas track is great.”
Lily James: “But then from the movie, yeah, the Carla track is fun.”
Ansel Elgort: “I love that you’re thinking about my music over the fact that this movie is a soundtrack movie. That question leads you to think about my music, that’s lovely. I’m so touched.”
Lily James: There’s also great music in this movie, yeah.”
Eiza Gonzalez: “Oh, for sure. Edgar has such an eclectic taste on everything. He’s a human walking library of information. Really, there’s nothing I’ve ever seen Edgar be like, ‘What’s that?’ Have you? I’ve never. This is the thing. Edgar loves music. Edgar loves movies. He’s a cinephile. He is a well-read man. He’s an amazing writer. He is a very curated human being and so I guess that being around someone like that, you are definitely going to learn a lot of things. I mean, yes, we did learn a lot of music but what I will say is Edgar, no matter how you’ve worked for years, you always are in a constant learning process. We never end learning. So being around someone that is into the detail of choosing a song and writing everything around that song and timing this will be perfect, when we got the script it already had an audio pop up. The doors were already in them.
He put these little details that weren’t even in the song. I was like, ‘How is he timing this to the speed I’m reading this?’ That’s why you’re like, ‘This brain is going on a whole different level than we are, thinking in the minimal details.’ So, I think that to your answer is yeah, for sure, we learned so much music. I think it was a list of 100 movies also to watch. He gave us this amazing of his favorite 100 movies.”
Were they all crime movies?
Eiza Gonzalez: “No, all over the place but I walked out being like, ‘I’ve got to better myself as a human being. The stakes are so high. There’s people out there really making the extra work.’ I think that people like Edgar deserve to be in a great place, because man, this man works hard.”
Ansel Elgort: “Probably why they cast me. I don’t know. I guess I fit. I’ve done a lot of things in my life to prepare to be an actor and I didn’t know what I was preparing for, but I started in dance and I took so many singing lessons and dance lessons. I also am an athlete so I can do some of the Baby stunts. Everything came together really well. I’m so into making music. Last night I was in the studio until three A.M.”
Lily James: “He was doing that when we were filming as well.”
Ansel Elgort: “I can’t stop. I can’t stop. I would finish a day of filming and go right to the studio.”
When do you sleep?
Ansel Elgort: “Well, I sleep thinking about my music. I woke up with tunes in my head. I am as into music as Baby is and I think Edgar knew that when we first met and that gave him hope that I might be right for this character.”
Are you a good driver?
Ansel Elgort: “I am actually a good driver now because of all the stunt training in the film. Most people never have any training when they drive. So now I’m a trained stunt driver a little bit. I can do some of the stuff that Baby does in the film.”
How do you contain yourself when you drive now?
Ansel Elgort: “I don’t contain myself. I just drive. I drive like Baby as much as I can get away with. I just have to know when I think there might be a speed trap or something.”
Have you gotten any tickets?
Ansel Elgort: “I have not gotten any tickets.”
What was it like to be honored at CinemaCon?
Ansel Elgort: “Well, I owe it to this movie. I have to thank Edgar obviously, because he gave me the opportunity to do a role like this. I think it’s a little bit of a leap of faith for a director to take somebody and say, ‘Okay, now the movie’s on your shoulders.’ I haven’t done a big, big film before with a cast like Jamie Foxx, Kevin Spacey and all these guys who are legends and the film’s on my shoulders. The reason I bring it up is because Sony sort of has done the same thing. They’ve accepted okay, we’re going to have this young man be the face of the movie, even though he’s definitely not the biggest star in the movie. We believe in him. So the CinemaCon thing is a Sony honor also and Sony saying, ‘We like this kid. We’re saying he’s going to have a nice career,’ which is a crazy honor and so nice.”
Did you gamble in Vegas?
Ansel Elgort: “Oh yeah, I love gambling. I love playing Blackjack but not high stakes. I expect to lose everything I gamble and I always do. I have never walked out up at all.”
Did you lose?
Ansel Elgort: “Not too much money, just a little bit but it’s fun.”
Can you relate to being stuck doing a job you don’t like because you’re the best at it?
Lily James: “I’ve never been stuck doing a job I didn’t want to do with regards to acting. I worked in a pub for quite a while where I grew up in England. I was actually not very good at that though. On the cash machines back then, there was no [built in] calculator so you had to work out the change yourself which I know is not the most challenging thing but my mental arithmetic wasn’t quick enough. So, I’d panic and just give them change and just hope for the best.”
How did you get this part, Lily?
Lily James: “I auditioned for the part with Edgar, which was great. He is English, which is nice. I would actually not want him to talk to me too much because I’d pick up on his Englishisms. But Ansel really was so helpful. He’d be really very generous and supportive to keep me keyed in with him. You’d give me gentle helpful little…”
Ansel Elgort: “…All I just said was stop worrying. She never once ever sounded British and she was always like, ‘I think I sounded British in that take.’ No, you didn’t.”
Lily James: “I was so annoying.”
What was the Saturday Night Fever moment like?
Ansel Elgort: “It was amazing. I’ve always wanted to do something that I felt was iconic in terms of that shot, like people can look on YouTube. The opening walk scene in Baby Driver, and I think people will do that. That’s so cool to be a part of one of those scenes. In terms of how we did it, we rehearsed for weeks leading up to it. We rehearsed all the choreography in the whole movie leading up because once we finally started filming, we’d have no more time for rehearsal because we shot six day weeks going into late nights, long hours, sometimes 18 hours a day.”
Lily James: “Edgar doesn’t need sleep. It’s insane. Nor could Ansel. He has to work on that thing.”
Ansel Elgort: “We rehearsed that shot and we showed up. It was just one take. We did like 28 takes and that was our day one of filming. It was a great way to start to shoot and so much fun. I felt like I was back in theater again and I felt like Edgar definitely appreciated the art of what we’re doing and not just getting what he needed. You could always tell when Edgar was tickled, when he was very pleased with what was going on. It was a great way to start the film and I’ll always remember that day.”
Lily James: “And I think out of that 28 times, I don’t think you ever made a mistake that I was aware of. It was amazing in how he moved and interacted with everyone. It was so cool.”
Was this six day weeks, 18 hour days for everyone?
Jon Hamm: “When you like going to work, the days are long but they’re not hard. That was my experience on Mad Men. I was in 95% of the scenes on Mad Men. I had times where I worked 17 days in a row because I was doing reshoots on a movie or something on weekends, whatever it was. But when you like what you do, it’s an old saying, but when you like what you do, it ain’t work. It really is. It’s true. I’m the first person to say that I knew what my dad did for a living, my grandfather did for a living. I’m lucky. This is not exactly like lead mining. It’s fun. It’s challenging. It’s hard. It can be difficult emotionally. It can be difficult on your family, on your personal life. All that other stuff, yeah. But when you like what you do, when you get to do it with people that you really like and respect, there’s nothing better.”
When did you realize you had chemistry?
Ansel Elgort: “I think in rehearsal. That was the nice thing is that we showed up and I didn’t know what to expect. You never know what to expect. You’re dealing with a bunch of actors and actors can be crazy. I’m thinking, ‘Okay, I’m Ansel and I’m about to go rehearse with Jamie Foxx and Kevin Spacey and Jon Hamm and all these big heavyweight people. Hopefully Lily James is nice.’ You show up and everyone is so nice. Immediately Jamie is saying, ‘Come to my house and play basketball. I hear you do music. I have a studio in my house. Any time, I’ll give you the key.’ Everyone was so warm. Lily and I immediately in rehearsal, we’re doing the scenes, they feel really good right off the bat, I think, because we never did a chemistry read.”
Lily James: “No, and Jon and Eiza did. I also remember that once we’d been rehearsing for a bit, they did some camera tests in our costumes. Edgar just put on the music and we just sort of danced. However long it took.”
Ansel Elgort: “Edgar sort of said there’s no need to worry. Lily’s incredible. There’s no way anyone could not have chemistry with her. She’s probably the easiest person ever to have chemistry with because she’s just so nice and very effortless in everything. She doesn’t overthink stuff. Some people are worried about am I good, am I not? Lily just rolls with the punches and is such a breeze to work with. It made it always really pleasant. I missed it when we finally finished all the diner stuff. I didn’t get to just keep doing scenes with Lily over and over again.”
Jamie, do you always invite your costars to your house?
Jamie Foxx: “You know, Ed Sheeran slept on my couch for six weeks. When he first started, when nobody knew who he was, he came to my house. Somebody introduced me to him, he said he wants to do music, he comes to my house. I said, ‘Cool, come to my house.’ I have an open policy for artists that I feel, and I felt him. He slept on the floor. I would just feed him. He had his little tarp. One day I took him – I would do a live night in L.A. in downtown L.A. I had a live show where all the musicians who either sing backup or play the guitar for Sting and all these other people. So this particular night, I take him, it’s 800 people there and they’re all black. All black, I mean dark. Not even light skinned. The guy’s a rapper and they’re the most incredible underground rappers and women singing. The level of music knowledge is way high. So I said, ‘Ladies and gentlemen, Ed Sheeran.’ He pops out of the curtain. He was this little furry with his ukulele. I’m sitting next to a guy named Charlie Burrell who’s an incredible guitarist. He’s like, ‘Come on, Foxxy, man. What’s this? Man, you know we like to keep the room right, man. What’s this?’ It was like a movie. I said, ‘Let’s see what the kid has.’ Within 12 minutes he had a standing ovation. The rest is history.
So, I’ve had that policy for Anthony Hamilton, Flo-Rida, Ne-Yo. Nick Cannon used to sleep on my couch when he was 12-13. It’s been this thing where I let people work. There’s a great energy to the studio that we actually have because we have ‘Slow Jams’ was done in that studio. ‘Blame it on the Alcohol,’ so we have all these people. Ansel was perfect for this role because he’s very musical. He writes his own music, he plays the piano and things like that.”
Jon Hamm: “And he can dance.”
Eiza Gonzalez: “He’s so talented.”
Jamie Foxx: “He did amazing for this film and there it is. I can’t wait to see what he does when he comes out.”
Lily James: “I don’t know. That’s hard to ever quantify all that stuff. The story of Cinderella and Disney, that was always going to I think be successful. It’s one of the greatest, prized fairy tales. I’m sure, you see Beauty and the Beast, all the ones that follow, they’re magical and they worked. Who knows why? Sometimes it’s a mix of all the different things and I don’t think it’s ever one person’s complete responsibility or achievement or fault or whatever.”
Ansel Elgort: “I was just lucky to be a part of something like that. Like Lily is saying, I walked into an amazing situation there. Movies don’t work no matter how hard you work or how good you think your performance might be, unless the movie’s great. There’s literally hundreds and hundreds of people who work on the film and everyone has to do a good job. It’s a super daunting high stress job, I’m sure, to be a director. That’s why I have to keep just thinking about how amazing Edgar is because he put this movie together so brilliantly. He’s inspired my so much. Hopefully one day I direct and do even close to the kind of job that he has done.”
Lily, what is the Joe Wright movie you did?
Lily James: “Oh, it’s called The Darkest Hour. Gary Oldman’s playing Winston Churchill. It’s about him becoming Prime Minister and that big decision he made in the first 24 hours about Dunkirk and then it’s set down in the war rooms in London. I play his secretary, private secretary/typist. She’s a real woman called Elizabeth Layton and she wrote a book about her experiences working with Churchill so closely. It’s a really amazing story, the things that those women did.”
What do you both want from your careers at this point?
Ansel Elgort: “I just want to work with Lily James again.”
Lily James: “Yeah, I just want to work with Ansel, and Edgar maybe. Baby Driver 2.”
