On April 3rd Industrial/EBM band VNV Nation stopped by The Mayan in downtown Los Angeles as part of their 2014 tour. Frontman Ronan Harris and drummer Mark Jackson came out on stage exuding an incredible amount of positive energy, sending out good energy to the audience and guaranteeing through their attitudes an amazing show for their fans. VNV Nation opened up with “Retaliate” from their latest release, Transnational, and followed that up with Of Faith, Power, and Glory‘s “Sentinel.” From that point on it was a mixture of songs from their albums, the earliest being Empires.
In between songs, Ronan would interact with the crowd, getting them actively involved in the concert by clapping, laughing, dancing, etc. And in addition to the show put on onstage by the band, the light show was – as has come to be expected from VNV Nation – amazing, with the displays during “Illusion” and “Nova” standouts among the concert’s visual effects. The lights faced a crystal ball above the stage, making those two songs come alive and so much more beautiful than they already were.
In total, VNV Nation played 17 tracks during the April 3 concert which included two encores. Here’s the setlist:
VNV Nation’s Transnational Tour is a must for anyone who likes to dance and have a great time without being forced into a mosh pit. Here are the remaining tour dates:
April 25, 2014 in Detroit, MI @ The Magic Stick
April 26, 2014 in Chicago, IL @ The Vic Theatre
April 27, 2014 in Milwaukee, WI @ Turner Hall
April 29, 2014 in Cincinnati, OH @ Taft Ballroom
April 30, 2014 in Pittzburgh, PA @ Mr. Smalls Theater
May 2, 2014 in Toronto, ON in Canada @ Phoenix Concert Theatre
May 3, 2014 in Montreal, QC in Canada @ Virgin Movile Corona Theatre
May 4, 2014 in Burlington, VT @ Higher Ground
May 6, 2014 in New Haven, CT @ Toad’s Place
May 7, 2014 in Boston, MA @ Royale
May 9, 2014 in Philadelphia, PA @ Trocade ro Theatre
May 10, 2014 in New York, NY @ Bowery Ballroom (different setlists each night)
May 11, 2014 in New York, NY @ Bowery Ballroom (different setlists each night)
May 14, 2014 in Springfield, VA @ Empire
May 15, 2014 in Charlotte, NC @ Tremont Music Hall
May 16, 2014 in Atlanta, GA @ Masquerade
Further North American dates are being planned for later in the year.
Are you tired of the “Breaking News” alerts on CNN that actually don’t contain any new and/or useful information? The alert tone and the CNN “Breaking News” banner used to actually mean something but they’ve become so overused that poking fun at the “Breaking News” announcements is almost too easy. Still, the Saturday Night Live episode aired on April 12, 2014 and hosted by Seth Rogen managed to find a unique way to acknowledge the lack of actual ‘breaking’ news included in the network’s alerts.
Nick Frost stars in 'Cuban Fury' (Photo Courtesy of eOne Films
Over 225 years after America threw the British off its land, it seems of late that we’re rethinking that decision. Whether it’s Harry Potter, James Bond, Doctor Who, or even all the hoopla stateside for the recent Royal Wedding, us Yanks can’t seem to get enough English charm, wit, or accent. One of my personal favorite British imports has been the work of Simon Pegg, Nick Frost, and Edgar Wright. First introduced to them in Shaun of the Dead, I then learned of the amazing television series Spaced, and reveled in their follow-up collaborations of Hot Fuzz and The World’s End.
Simon Pegg has become quite well known to American audiences via supporting roles in Tom Cruise’s Mission: Impossible franchise and as Chief Engineer Scotty in the reboot of Star Trek. Edgar Wright might not be a household name, but he’s currently directing one of the upcoming Marvel movies, Ant-Man, so maybe then audiences on this side of the pond will start to appreciate his genius and then discover his earlier work that way. Sort of left out in the famous train has been Nick Frost.
He’s generally been Pegg’s sidekick, though if you really follow his career you know that’s not quite true (Kinky Boots for example). And with Cuban Fury getting released stateside, he’s now got a bona fide starring role and is in the spotlight all by himself (though be on the lookout for a very fun and very quick cameo by someone I’ve already mentioned).
Frost plays a good guy who’s simply lost confidence and momentum, relegating himself to a safe, almost mundane life with a prescribed trajectory designed to avoid extreme lows by not taking the risks for the extreme highs. His quasi-arch nemesis, played by Chris O’Dowd, is the cocky jerk at work who fancies himself a ladies man. He also doesn’t mind taking each and every opportunity to take Frost down a peg whenever he feels threatened because all of that bravado is a clear and obvious smokescreen for the insecurity that lies beneath all bullies.
The two find themselves in a competition for their new boss, played by Rashida Jones. But how will they earn her affection? It just so happens she’s a salsa-dancing enthusiast. That bodes well for our reluctant hero, as he was a junior champion in the discipline. However, he gave that life up as a teenager after a traumatic event forced him to retreat into the shell in which he now resides.
The film unfolds as he finds his courage, embraces his passions, and if you don’t know how the movie is going to end from being told the basic premise, I’ve got a bridge I can sell you in some prime real estate.
Now, there isn’t too much to write home about when it comes to the technical aspects of the movie. The direction is fine, the cinematography is okay, the production value adequately sets the stage for what needs to happen, and even the script is largely paint-by-number for the genre. However, what makes this movie the most fun I’ve had in a theater in 2014 are the actors.
Frost doesn’t really do anything I haven’t seen before, but he’s excellent in this type of role. O’Dowd plays a great jerk, though he lacks the usual leading man type looks that help to reinforce the disparity between the character he’s playing and the underdog; but still, his comedic sensibility makes up for that element. Rashida Jones is a perfect fit into this quirky world, as she’s got a seemingly uncommon talent these days for pulling off being attractive, smart, AND funny. This is where the script does get some credit, as most typically pigeonhole the female lead as having at best two of those three traits.
Still, what sets the movie over the top is the inclusion of two actors. When I say that the first is Ian McShane, I doubt that surprises anyone. He’s a phenomenal actor, and it’s always fun to see him counterbalance the intimidation he innately exudes with a softer side. The big surprise of the movie though is Kayvan Novak. I’d seen him before in the excellent Four Lions but here, he’s almost literally the life of the party. His delivery is razor sharp and armed with some very sharp dialogue (it’s the plot development where I’m really at odds with the script), I haven’t laughed that hard out loud in a theater since the last Nick Frost movie I saw – 2013’s criminally underrated, and aforementioned, The World’s End.
Now, of course, comes the question. Should you see it? Well, unless you simply cannot stand formulaic underdog movies or somehow find British accents unintelligible, then I’d say this is the clear choice for the movie of choice in theaters right now. 2014 certainly hasn’t been a buffet of choice when it comes to your movie dollars, but there’s something so winning, charming, and funny about Cuban Fury that it reminded me why I like to go to the movies. Maybe it’ll do the same for you too.
GRADE: B+
Cuban Fury was directed by James Griffiths and is rated R for language and sexual references.
“You promised me you would never forget what really happened,” says Kaylie (Karen Gillan). “I was 10 years old,” replies Tim (Brenton Thwaites) to his older sister who wants his help in proving the deaths of their parents 11 years ago were actually due to a supernatural entity that resides in a centuries-old mirror in the horror film Oculus.
Earning his release from a mental hospital after turning 21, Tim is looking forward to finding a job, starting his life, and reconnecting with his sister, Kaylie. It seems, however, that his big sister has other plans.
For the past 11 years, Kaylie has been investigating the history of the Lasser Glass and she’s found that since its first documentation is that it’s been involved in 45 mysterious deaths. She’s convinced that their father’s descent into madness and the subsequent murder of their mother was caused by an evil entity living in the mirror. Kaylie intends to prove it and find a way to destroy the mirror once and for all, but she needs her brother’s help.
Unfortunately for Kaylie, as a result of years of treatment, Tim is convinced that as young kids, they made up and imagined all the scary images to mentally protect themselves from the horror they had survived.
Still, Tim’s curious and doesn’t want Kaylie to go into their old house with the mirror alone, so he joins her one night in hopes of proving to her it’s all in her mind. With cameras set up recording the mirror, alarms set to go off every half hour to wake them out of ghostly hallucinations, and plants distributed all over the house (apparently, the mirror demon isn’t a tree hugger), Kaylie and Tim set out to document and destroy the possessed vanity glass for good.
Creepy but uneven, Oculus is an old-fashioned ghost film that seems to borrow heavily from such classics as The Shining and The Amityville Horror but comes up short in producing any real moments of terror. The performances from the majority of cast are stilted, and especially disappointing is the lead Karen Gillan who portrays the adult Kaylie as a wide-eyed, obsessed demon-hunter without ever conveying any kind of fear or really any emotion.
Another big disappointment is the performance from Rory Cochrane as the father who, in flashback scenes, is shown being slowly possessed by the entity in the mirror. He has to convey the changes the possession makes, taking him from a loving father and husband into a gun-carrying, stalking killer. But there’s hardly any difference in his demeanor except for seeming to be distracted by gazing into the mirror over and over again and, oh yes, forgetting to go grocery shopping. Oh, the HORROR of an empty refrigerator…please.
The film constantly goes back and forth from the present-day ghost hunt to the events 11 years ago that caused the parents’ deaths, even at times intersecting and crossing over with the adult Tim passing the younger Tim on the stairs or in the hallway. This ruins any sense of rhythm and pacing in the film, which is essential to building suspense.
Two performances that do stand out and deserve some praise are delivered by the young actors who portray Kaylie and Tim in the flashbacks: Annalise Basso and Garrett Ryan. They convey true concern as their parents fall under the control of the evil entity in the mirror and later terror as their own parents become their mortal enemies.
Even with their performances, Oculus is still missing the impending sense of dread and real ‘hairs standing up on the back of your neck’ chills necessary to make it anything more than just a mediocre haunting at best.
GRADE: C-
Oculus was directed by Mike Flanagan and is rated R for terror, violence, some disturbing images and brief language.
Amateur baseball pitchers—male or female, who are legal United States residents at least 18 years of age or older—are invited to qualify to compete in the preliminary rounds of the Million Dollar Arm Pitching Contest at either Walt Disney World® Resort in Florida, Disneyland® Resort in California or at the Tribeca/ESPN Sports Day at the Tribeca Family Festival in New York City. The three contestants from each location who throw the fastest pitches will advance to the finals and have a chance to compete for a $1 million prize at the world premiere of Disney’s Million Dollar Arm in Hollywood, California. Official rules are available on Disney.com’s Million Dollar Arm homepage at http://disney.com/PitchingContest.
Presented by SUBWAY® restaurants, the three qualifying events will take place on April 25 and 26, from 7 a.m. to 6:00 p.m., at both Downtown Disney District in Anaheim, Calif. and ESPN Wide World of Sports Complex at Walt Disney World® and on April 26 only, from 10 a.m. to 6 p.m., at the Tribeca/ESPN Sports Day during the Tribeca Family Festival in New York City. Contestants will throw three pitches, each tracked by a radar gun, in an attempt to throw the fastest pitch. All participants will receive tickets for themselves and a guest to see an advance screening of Disney’s Million Dollar Arm at an AMC Theatres location later that evening.
Nine finalists chosen during these qualifying events will have a chance to compete for the $1 million prize at the world premiere of Disney’s Million Dollar Arm. The top three eligible pitchers with the fastest pitches from each qualifying round location will be flown with his or her guest to the final contest, which will take place at the world premiere of Disney’s Million Dollar Arm in Hollywood, Calif., on May 6. Each of these finalists will throw three pitches on Hollywood Boulevard. Any eligible finalist who throws one 100 mph strike (out of three pitches) will become a potential winner of the $1 million grand prize.
The nine finalists and their guests will be VIPs at the film’s premiere along with stars, filmmakers, major league players, coaches, scouts and celebrities.
The Million Dollar Arm Plot:
Based on a true story, sports agent JB Bernstein (Hamm) finds that business has changed and things aren’t going well for his career. In a last ditch effort to save his livelihood he concocts a scheme to find baseball’s next great pitching ace. Hoping to find a young cricket pitcher he can turn into a major league baseball star, JB travels to India to produce a reality show competition called “The Million Dollar Arm.” With the help of cantankerous but eagle-eyed retired baseball scout Ray Poitevint (Alan Arkin), he discovers Dinesh (Mittal) and Rinku (Sharma), two 18-year-old boys who have no idea about playing baseball, yet have a knack for throwing a fastball. Hoping to sign them to major league contracts and make a quick buck, JB brings the boys home to America to train. While the Americans are definitely out of their element in India, the boys, who have never left their rural villages, are equally challenged when they come to the States. As the boys learn the finer points of baseball, JB, with the help of his charming friend Brenda (Lake Bell), learns valuable life lessons about teamwork, commitment and what it means to be a family.
Writer/director Mike Flanagan’s Oculus is a horror film about siblings who investigate an antique mirror thought to have caused the death of dozens of people, including their parents. The cast is led by Doctor Who‘s Karen Gillan and Brenton Thwaites (soon to be seen playing a prince in Maleficent) as adult siblings Kaylie and Tim, with Annalise Basso and Garrett Ryan handling younger versions of the characters.
Oculus premiered at the Toronto Film Festival where it earned rave reviews along with the People’s Choice Award Midnight Madness First Runner-Up honor, and on its opening day the Rotten Tomatoes meter has it at a higher approval rating than either of the films it’s opening against in theaters: Rio 2 and Draft Day.
The Hotel del Coronado was the obvious choice for hosting the Oculus filmmaking team of writer/director Mike Flanagan, producer Trevor Macy, and executive producer Jason Blum who were on the road promoting the film’s April 11, 2014 theatrical release. The Hotel Del has the reputation of being one of San Diego’s most haunted establishments and it was an appropriate setting for our conversation about horror films and haunted mirrors.
Mike Flanagan, Jason Blum, and Trevor Macy Exclusive Interview
Mike, you actually requested to spend the night in one of the Del’s haunted rooms?
Mike Flanagan: “I did.”
And?
Jason Blum: “He had a ghost experience! Something weird happened.”
Mike Flanagan: “I didn’t see a ghost or anything like that. I set the alarm in the room for 6am, because we had to do press this morning but it went off on its own at 3:30. It freaked me out and made me smash it quiet and almost miss the press this morning. But I want to find out what time Kate Morgan died, because if it was like 3:30, that would be pretty awesome.”
Jason Blum: “We need to find that out.”
Mike Flanagan: “It was cool. I love that stuff. We started our whole junket at the Stanley Hotel in Colorado.”
Jason Blum: “He chases ghosts. He’s like the ghost hunter. I’m not like that, but he is.”
If something strange happens do you usually jump to a supernatural explanation?
Mike Flanagan: “I’ve never seen anything. I’m a natural-born skeptic so I’d love for it to happen.”
Trevor Macy: “You’re a pretty engaged skeptic though.”
Mike Flanagan: “Yeah, I am!”
Jason Blum: “He’s like a ‘bring it’ skeptic.”
Mike Flanagan: “Yeah, it’s like, ‘Bring it on!’ They’re like, ‘This room is so haunted.’ It’s like, ‘Great, let me sleep there. Let me see what happens.'”
Even though it’s a smaller room, you didn’t care.
Mike Flanagan: [Laughing] “It is a much smaller room. But I would love it if I would’ve woken up at 4am with someone standing at the foot of the bed looking all crazy. That would be awesome. Just awesome.”
That would’ve validated everything. Do you think that people who deal in the horror genre have to be skeptics?
Mike Flanagan: “No. I know some people who do it because they’re big believers in the paranormal as well. I think both perspectives lend themselves really well to the genre. I think it needs both perspectives. If you’re a skeptic writing a horror movie, you’ve also got to look at it through the lens of somebody who really believes in that stuff because you want it to land and be effective.
If you’re a true believer, you’ve got to think of it skeptically because audience members will and you want to be able to address those questions. I think they’re both completely essential. I try to represent both as often as I can.”
I’m fascinated by the mirror and the design you chose. How did you figure out what it was going to look like?
Mike Flanagan: “We had bought this mirror for the short that looked similar-ish to the one we have in the movie. We took that as kind of the starting point but wanted to do something that was really organic and kind of felt like it was alive in some way. Something that would be beautiful but ominous at the same time, which is a tough line to straddle. Then what they did with it that was so cool was, if you look at the frame it’s comprised entirely of these writhing human figures, but you can’t tell unless you’re like an inch away.”
Trevor Macy: “It creeps you out when you get close.”
I would imagine. Where’s the prop mirror now?
Mike Flanagan: “The mirrors live in a warehouse right now.”
Trevor Macy: [Laughing] “In an undisclosed location.”
A location that so far hasn’t burned down or had anything bizarre happen to it?
Trevor Macy: “Nothing weird has happened that we’ve heard yet.”
You’re filming with a mirror so you must have been driving yourself crazy.
Mike Flanagan: “Yeah, it was really hard.”
Trevor Macy: “Mostly the DP.”
Mike Flanagan: “Which is another benefit of having done the short; we knew it was going to be a challenge. The thing that we did when we designed the mirror was we put the glass itself on a gimbal so that it could be angled just a couple of inches to help frame out crew. But what that did for us that was kind of a bonus was every time in the movie that we’re pointing a camera at it, it’s not reflecting exactly what it should. Everything’s a little off, and your mind picks up on that but you can’t put your finger on what’s wrong. That’s a really cool effect.”
That is creepy. Is it the younger actors or the older actors who get more freaked out and jumpy just by being on a horror movie set?
Jason Blum: “Good question.”
Mike Flanagan: “The older actors. The kids have a blast.”
Why is that? Are they more into it?
Trevor Macy: “In all fairness though, this was a really fun set. Everybody was having a really good time and pulling pranks. Mike promotes a very collegial-like fun environment on set and he’s great with collaborating with actors so they all feel pretty good about it. But we also had a particularly skilled cast on this movie so they were all brave enough to come in and out of character. Katee [Sackhoff] could go from, she made a Match.com video in full bloody teeth makeup and all that stuff. She could go straight into a crying-on-demand kind of thing. They’re all like that, honestly, even the kids. We lucked out.”
What I find troubling about the horror genre is that, as a critic, I hardly ever get to see the movies screened in theaters, but they did screen Oculus. However, normally studios don’t screen films of this genre for critics. Do you think that will ever change? Is it fair?
Jason Blum: “I’m the right person to ask about that.”
I thought you would be.
Jason Blum: “I think it’s almost over. I don’t think you can release… Paranormal Activity is an exception and the only reason we don’t screen Paranormal Activity for critics, except for the fourth one, is because the movies really aren’t ready. We start shooting the movie in June and we’re rushing it out every Halloween. Every other movie that we’ve done, except Dark Skies, which did not work, and I think this is part of it is because we’ve always screened for critics.
We’re screening this movie like crazy for everybody because I think the day of like, ‘We’re not going to show the movie, I think the audience knows what’s up. I say to the distributors if they say, ‘We’re not going to screen your movie before it opens,’ I’m saying, ‘Guys, then don’t open the movie. You should do a limited release of the movie.’ I really feel like the consumer, the people who go to movies are too smart now, and If you’re not proud enough to show the movie before you open it, you should not be opening the movie.”
Moviegoers look on Rotten Tomatoes and if there aren’t any reviews, they wonder why the studio is hiding the film.
Jason Blum: “Of course.”
Trevor Macy: “I was involved with The Strangers which is a movie that actually was very well received but we decided not to screen in advance. The distributors argument at the time was that they wanted everybody to discover this on the Friday. The movie was good, but it was pretty dark not unlike this one.”
Jason Blum: “But it was also even three or four years ago, whenever it was.”
Trevor Macy: “Yes, and I’m saying a lot has changed since then and I think people can smell it. It used to be that the classic argument was there was no upside. Horror fans don’t care what critics say, which I don’t think is true.”
Jason Blum: “I don’t think that’s true either.”
I don’t think it’s true anymore.
Trevor Macy: “This was the argument that was made. I think that’s wrong because I think there’s a lot of great blogs now who are fans and they’re going to favorably review something a mainstream critic might not. Even if, ‘Okay, fine, it’s not Lawrence of Arabia but it’s a really fun movie and you should go see it.’ That is a win.”
Jason Blum: “The only exception I think is this is not to do with Paranormal…Paranormal aside…is a sequel. I think sequels there’s a pent-up, but an original scary movie like this, you have to screen it first. We had 50 screenings last night, word-of-mouth screenings all over the country.”
Mike Flanagan: “I didn’t know that it was that many. That’s amazing.”
Trevor Macy: “Top 40 markets, plus top 10 Latino plus the seven we’ve done ourselves, 57 screenings.”
Jason Blum: “The best tool to sell a good movie, in my mind, is the movie.”
And with social media, you have to get your film out there or they will know it’s being hidden.
Jason Blum: “I couldn’t agree more.”
Trevor Macy: “That’s actually how you get crucified between Friday and Saturday. Everybody comes to the movie like, ‘Really? I see why they didn’t show it.'”
Jason, how do you figure out what you’re involved with now? I would imagine every filmmaker is throwing ideas at you asking you to produce their films.
Jason Blum: “We look for super specific things that these guys made and that I like to feel like are in most of our movies which is a great story, a compelling story, an original story, and really, really good acting. The scares are very much secondary. You feel like it’s the equivalent of a page turner. I guess reading the script would be a page-turner when you’re sitting, like it’s suspenseful and the story is engaging.
There’s a mystery to this movie which I feel like exists in Sinister and exists in Insidious. There’s a suspensefulness to it and also, obviously, we only do low budget movies. If it’s expensive, that gets rid of a lot of them.”
How many filmmakers or producers come to you and ask you to help set up the same type of model, but with a different genre?
Jason Blum: “Yeah, we’ve done it a few times. Sometimes successfully, sometimes not successfully. We have an erotic thriller that we’re doing, that we finished with J-Lo. That one came out well and that one comes out in January. That’ll be a wide release like this movie. We’ve tried two comedies. We did one with a guy who directed Dukes of Hazzard, a guy named Jay Chandrasekhar. A big studio movie, we did it for a very low budget.
I actually like and am proud of both of these movies, but they didn’t get studio releases; they got smaller releases. The comedy we did was called Babymakers and then Joe Carnahan did a movie for us called Stretch, which is like an action-comedy. It’s a really cool movie, but it’s quirky and more independent feeling so it wouldn’t be right for a wide release.”
The mirror in Oculus reflects your fears and insecurities. If you were looking into it, what would you be seeing?
Mike Flanagan: “I don’t think you’re ever going to find anybody as insecure as I’m going to be until Monday.”
It’s getting good reviews.
Jason Blum: [Laughing] “That’s what we’ve been telling him. That’s all he should be caring about. Stephen King said he loved the movie. As a filmmaker there’s nothing better than that. No box office could match that.”
Trevor Macy: “Honestly when he was at the Stanley Hotel, I’ve worked with him now for like three years, I’ve never seen him happier. He was like a kid at Christmas.”
And yet you’re still insecure?
Mike Flanagan: “Yeah. I think all filmmakers operate fundamentally from a level of deep insecurity. We can be really, really confident in a piece of work and very proud of it but you’re still like, when you put it in front of an audience for the first time, the stomach’s going to drop out.”
Do you find that to be the case with all the directors you work with?
Trevor Macy: “Yes, even experienced directors. Between Toronto, SXSW, and the aforementioned 57 screenings and some tests, we’ve seen it with audiences but we’re asking people to fork over their hard-earned money and time to see it for the first time. That’s what you do. We’ve lived with this movie since 2011. Even if you’re totally proud of the movie, butts in the seats are the important stuff.”
Jason Blum: “The media loves media. It’s a public industry, so you feel like you’re under the spotlight. Which is fun and also stressful.”
Is it still a thrill to see your film with a regular audience?
Mike Flanagan: “Oh yeah, that’s the best.”
How do you react? Do you watch the audience?
Mike Flanagan: “I watch the audience. Yeah, I watch the audience.”
Jason Blum: “Every time we’re in a screening and we get there to do a Q&A, he goes in the theater. I don’t because I get too nervous, but he goes in.”
Mike Flanagan: “We can be pretty invisible for that. My favorite theater in the world is the ArcLight in Hollywood. I’m going to be there all day [on April 11], just kind of lurking and checking it out. I love watching the audience experience, I love it. When we did Toronto, that was probably the coolest audience experience that I’ve ever, ever had. Standing up, vocal, and how excited they were.”
Trevor Macy: “It was our first public screening too and it was 1,300 people.”
Mike Flanagan: “It was huge. They were applauding throughout the movie and it was awesome.”
Was there a line or a scene in the movie they reacted to more than you expected?
Mike Flanagan: “The thing that got the biggest reaction that I wasn’t expecting is the moment where Annalise [Basso] comes running out into the hallway with the golf club and Marie [Katee Sackhoff] pops out. That got a big ovation. I thought that that was awesome.”
Trevor Macy: “It was the smack. It was great sound design.”
Your older actors are terrific but how did you find the younger members of your cast?
Mike Flanagan: “We got really lucky. Annalise put herself on tape and just sent it in. We were like, ‘How are we going to find the actress who can play a young Karen Gillan, who’s going to look enough like her and do what the movie asks of her?’ which is a lot more than what kids normally have to do in these movies. We were really nervous about what that would be. There was going to be this huge search. This tape just kind of knocked on the door and we watched it and were like, ‘Yep, we can stop. That’s it.'”
As a dog lover, I always get upset when you guys kill the frigging dogs in horror movies.
Mike Flanagan: [Laughing] “Everybody does.”
Why do you do that? Could you at least switch it to a cat or a gerbil or something else occasionally?
Trevor Macy: “You should have seen the first draft of the script. I’m a dog lover too.”
Was it worse? Why do you do it?
Mike Flanagan: “I think it’s really interesting.”
Jason Blum: “Next movie we’re killing a cat.”
Mike Flanagan: “I find it fascinating that it’s like, you’ve got a character that you love who is like impaled thought the neck but you’re like, ‘The dog!'”
Jason Blum: “Humans are fair game.”
The dogs are innocent victims.
Mike Flanagan: “Which is why eventually we decided to let ‘dog’ go, let dog escape. With Mason we kind of wanted to leave it like we’re not really sure what happened.”
Trevor Macy: “We know. The mirror got him.”
Mike Flanagan: “I would wager the dog is probably looking at a lot of therapy.”
Trevor Macy: “Mason actually was one of the hero dogs from Marley & Me. He’s died a couple times.”
That’s really sad. That’s really horrible. And to change the subject, I have to ask about Jem.
Jason Blum: “Jem & the Holograms, are you ready?
”
I am.
Jason Blum: “We’re making Jem & the Holograms.”
And you’re involving the fans in everything.
Jason Blum: “Isn’t that good?”
Yes, it’s awesome.
Jason Blum: “I think that thing they were saying about showing the movie…I’m very not precious. I think it’s really important to involve fans from the start. We share our process. We’re very open about our process. We’re very open about the material and what we’re doing and who we’re casting and all that stuff. We like to let the fans in from early on to see how it happens.”
And Jon M. Chu as the director?
Jason Blum: “Jon Chu is the director. He’s done a couple of Step Up movies and GI Joe‘s.
Everybody keeps saying, “He’s the Justin Bieber director.”
Jason Blum: “Did you see the Justin Bieber movie?”
No I didn’t because I really am not a fan of Justin Bieber.
Jason Blum: “I can’t stand Justin Bieber either. The movie is awesome. You literally like Justin Bieber by the end of the movie, which is a miracle. Do you ever fly Virgin Airlines?”
No, I have never flown Virgin.
Jason Blum: “They did a new public announcement on Virgin Airlines where they have a musical about fastening your seatbelt and all that stuff. They made it into a musical number that’s choreographed, which he directed. It’s like the coolest two minutes of film you’ve ever seen. He’s a great guy, he’s a great director. We start in a week. I’m psyched.”
* * * *
Oculus opens in theaters on April 11, 2014 and is rated R for terror, violence, some disturbing images and brief language.
Shailene Woodley stars in 'White Bird in a Blizzard' (Photo by Sandra Valde-Hansen/Courtesy of Sundance Institute)
White Bird in a Blizzard from writer/director Gregg Araki (Mysterious Skin) has been acquired by Magnolia Pictures for distribution in North America. Shailene Woodley (Divergent, The Spectacular Now) stars in the dramatic film based on the critically acclaimed novel by Laura Kasischke and produced by Araki, Pascal Caucheteux, Sebastien K. Lemercier, Alix Madigan-Yorkin, and Pavlina Hatoupis.
The cast also includes Eva Green, Christopher Meloni, Shiloh Fernandez, Gabourey Sidibe, Thomas Jane, and Angela Bassett.
“We are longtime admirers of the singular Gregg Araki, who brings his unique vision to this funny, sexy and haunting film,” said Magnolia President Eamonn Bowles. “Shailene Woodley truly shines with a bold and fearless performance that showcases the depth of her talent.”
“I’m thrilled for this opportunity to collaborate with Magnolia, one of the boldest, smartest companies around. White Bird is a true labor of love for me and the most amazing family of actors I’ve ever worked with,” said Araki. “I can’t wait for the world to see the film.”
The Plot:
The film is set in 1988. Woodley stars as Kat, a college-bound teenager who is just discovering and relishing her newfound sexuality, when her mother (Green), a beautiful, enigmatic, and haunted woman, disappears. Having lived for so long in a stifled, emotionally repressed household, Kat barely registers her mother’s absence and certainly doesn’t blame her doormat of a father, Brock (Meloni), for the loss.
But as time passes, Kat begins to come to grips with how deeply Eve’s disappearance has affected her. Returning home on a break from college, she finds herself confronted with the truth about her mother’s departure, and her own denial about the events surrounding it.
Anne Hathaway reprises her role for the animated sequel Rio 2, once again bringing to life a raw Blue Macaw named Jewel. In the sequel from 20th Century Fox and Blue Sky Studios, Jewel is now a wife and mother and living out a comfy life in suburbia. However, when her two-legged friends discover a colony of Blue Macaws living in the Amazon, Jewel’s quick to jump at the chance to travel into the wild with her partner, Blu, and her kids to search for more of their kind.
In this interview courtesy of Fox, Hathaway discusses being a part of this animated sequel, the story, and having Andy Garcia provide the voice of her long-lost dad.
Cover for 'Allegiant' - Publisher: Katherine Tegen Books
If you’re surprised by this Divergent film series announcement, you haven’t been paying attention to the recent trend of splitting books into two movies to prolong a franchise. Warner Bros did it with Harry Potter. Summit made the same decision for Twilight, and Lionsgate’s The Hunger Games will finish up by breaking up Mockingjay into two films. And now Lionsgate and Summit have announced the third book in Veronica Roth’s bestselling Divergent series, Allegiant, will be made into two feature films.
Allegiant Part 1 will open in theaters on March 18, 2016 followed by Part 2 on March 24, 2017. Filming on the second movie of the series, Insurgent, will kick off in May 2014 with that film heading to theaters on March 20, 2015.
“Veronica Roth brings her captivating story to a masterful conclusion in Allegiant, a rich, action-packed book with material that is ideally suited to two strong and fulfilling movies,” said Lionsgate Motion Picture Group Co-Chairmens Rob Friedman and Patrick Wachsberger. “The storytelling arc and world of the characters lend themselves perfectly to two films, a storytelling strategy that has worked very well for us on the two Twilight Breaking Dawn films and about which we’re tremendously enthusiastic for the two upcoming Mockingjay films of The Hunger Games franchise.”
Divergent was released on March 21, 2014 and has earned more than $117 million domestically since opening in theaters.
The Plot of Allegiant:
After the cataclysmic events in Insurgent, Tris and Four enter a dangerous new world in Allegiant Parts 1 & 2 that they no longer recognize. As new truths are revealed about the past and future, Tris must face impossible choices about courage, allegiance, and love to protect the people closest to her.
“From acclaimed returning series to new thought-provoking specials, this summer offers a fresh slate of programs that will have audiences tuning in night after night to PBS,” said Beth Hoppe, PBS Chief Programming Executive and General Manager, General Audience Programming. “We have hit a strong programming stride year-round, and built a dedicated home on PBS member stations for a vast array of new, quality programming across our key genres of drama, science and natural history, history, arts and independent film.”
PBS’ Summer Programs:
SUNDAY:
MASTERPIECE MYSTERY! “The Escape Artist”
Sundays, June 15-22, 2014, 9:00-10:30 p.m. ET
David Tennant (Doctor Who) stars as a brilliant defense lawyer with a storybook family and a potent nickname, “The Escape Artist,” for his ability to spring the obviously guilty. Then he gets a trial that changes his life forever. This gripping legal thriller costars Sophie Okonedo (Hotel Rwanda) as the hero’s rival, along with a courtroom full of ambitious attorneys and one very unnerving defendant.
SECRETS OF UNDERGROUND LONDON
Sunday, June 22, 2014, 8:00-9:00 p.m. ET
On the surface, London is a buzzing, modern metropolis — but underneath lies a secret, hidden world, all but forgotten by the millions of people above. This program uncovers 2,000 years of subterranean history: a world of ancient caves and perfectly preserved Roman remains; mysterious rivers and gruesome plague pits; impenetrable vaults and top-secret bunkers.
LAST TANGO IN HALIFAX, Season 2
Sundays, June 29 to August 3, 2014, 8:00-9:00 p.m. ET
The BAFTA-winning comedy drama about romance and second chances returns as the reunited childhood sweethearts Celia (Anne Reid) and Alan (Derek Jacobi) plan a life together. As secrets from the past come tumbling out and family members adjust to changing relationships, can Alan and Celia find the long-awaited happiness they deserve?
MASTERPIECE MYSTERY! “Endeavour, Season 2”
Sundays, June 29 to July 20, 2014, 9:00-10:30 p.m. ET
Before “Inspector Morse,” there was the rookie Constable Morse, fed up with police work and ready to nip his career in the bud by handing in his resignation. That is, until a murder turned up that only he could solve. Shaun Evans returns for a second season as young Endeavour Morse, before his signature red Jaguar but with his deductive powers already running in high gear.
VICIOUS
Sundays, June 29 to August 3, 2014, 10:30-11:00 p.m. ET
Partners Freddie (Ian McKellen) and Stuart (Derek Jacobi), who have lived together in a small central London flat for nearly 50 years, are always at each other’s throats, making snide remarks aimed at the other’s age, appearance and flaws. However, underneath their vicious fighting, they share a deep love. Freddie and Stuart are often joined by feisty best friend Violet (Frances de la Tour, Harry Potter and the Deathly Hallows) and Ash (Iwan Rheon, Game of Thrones), their young, upstairs neighbor.
MASTERPIECE MYSTERY! “Poirot, Season 12”
Sundays, July 27 to August 3, 2014, 9:00-10:30 p.m. ET
David Suchet returns in his signature role as suave Belgian super-sleuth Hercule Poirot in two new mysteries, “The Big Four” and “Dead Man’s Folly,” based on the novels by Agatha Christie. Whether he’s on holiday abroad, taking a countryside break or simply going about his business, Poirot exercises his “little grey cells” by helping police investigate crimes and murders — whether they ask for his help or not.
MASTERPIECE “Breathless”
Sundays, August 24 to September 7, 2014. 9:00-10:30 p.m. ET
In this stylish and compelling new medical drama set in London in 1961, Jack Davenport (Smash, Pirates of the Caribbean) stars as a brilliant surgeon who believes he can make a difference in women’s lives.
MONDAY:
BRAZIL WITH MICHAEL PALIN
Monday and Tuesday, June 9-10, 2014, 9:00-11:00 p.m. ET
Michael Palin visits Brazil, traveling from the lost world of Amazonia to the buzzing metropolis of Rio de Janeiro, meeting the people and visiting the places that shape this South American nation.
“Out of Africa” — Monday, June 9, 2014 9:00-10:00 p.m. ET
Join Palin as he visits vaqueros, learns to drum and cook Bahian-style and studies capoeira moves.
“Into Amazonia” — Monday, June 9, 2014, 10:00-11:00 p.m. ET
Travel with Palin on rivers through the very heart of Amazonia.
“The Road to Rio” — Tuesday, June 10, 2014 9:00-10:00 p.m. ET
Head to Rio to learn about the vibrant city that will host the next Olympics and World Cup.
“The Deep South” — Tuesday, June 10, 2014 10:00-11:00 p.m. ET
See what Brazil has to offer the world as it takes its place as a potential new superpower.
ANTIQUES ROADSHOW
Mondays, 8:00-9:00 p.m. ET
Experts from auction houses and independent dealers offer free appraisals of antiques and collectibles, revealing the truth about heirlooms, yard sale bargains and neglected items salvaged from attics and basements. Mark L. Walberg hosts. This summer, special Vintage episodes revisit memorable appraisals from past visits and update their values.
“Vintage Providence” — June 16
“Vintage Tampa” — June 23
“Vintage Columbus” — June 30
“Vintage Toronto” — July 7
“Vintage Baltimore” — July 14
“Vintage Salt Lake City” — July 21
“Vintage Des Moines” — July 28
AMERICAN PHARAOH
Monday, June 16, 2014, 10:00-11:00 p.m. ET
This documentary about the Egyptian National Football Team, their American coach, Bob Bradley, and the team’s quest to qualify for the 2014 World Cup in Brazil follows the team on and off the pitch, and offers a unique window into events unfolding in Egypt following the historic revolution. Bradley arrived in Cairo in late 2011 and found a country and a team in chaos. The rebuilding of the team offers a powerful metaphor for the rebuilding of Egypt and the country’s journey toward democracy.
POV
Mondays, 10:00 p.m. ET
The award-winning POV (a cinema term for “point of view”) series is the longest-running showcase on television to feature the work of America’s best contemporary-issue independent filmmakers. The 27th season premieres on Monday, June 23 with “When I Walk,” a life-affirming documentary that chronicles filmmaker Jason DaSilva’s struggles with multiple sclerosis.
“When I Walk” — June 23, 10:00-11:30 p.m. ET
Jason DaSilva was 25 and a rising filmmaker when he was diagnosed with multiple sclerosis and inspired to film this forthright—and surprisingly uplifting—look at his new life. He searches for a cure, yet a different miracle comes his way.
“American Revolutionary: The Evolution of Grace Lee Boggs” — June 30, 10:00-11:30 p.m. ET
Meet Grace Lee Boggs, a Chinese-American philosopher in Detroit who has been waging a revolution for 75 years. Her story unfurls to portray an evolving city—and to examine the power of ideas and imagination to propel change.
“My Way to Olympia” — July 7, 10:00-11:00 p.m. ET
Niko von Glasow, the world’s best-known disabled filmmaker, covers the Paralympics, the international sporting event for athletes with physical and intellectual disabilities. Unfortunately—or fortunately for anyone seeking an insightful and funny documentary—this filmmaker frankly hates sports and thinks the games are “a stupid idea.”
“Getting Back to Abnormal” — July 14, 10:00-11:30 p.m. ET
Election time in New Orleans: Corruption. Racism. Dancing in the streets. And one in-your-face politician trying to get re-elected. Let the good times roll.
“Dance for Me” — July 21, 10:00-11:30 p.m. ET
At 15, Russian ballroom dancer Egor leaves everyone and everything he knows for a chance to team up with 14-year-old Mie, one of Denmark’s most promising young performers. Will his choice be worth the sacrifices he must make?
“Fallen City” — July 28, 10:00-11:00 p.m. ET
After an earthquake levels Beichuan, China, a modern replica rises with astounding speed, but while a city can be rebuilt quickly, reconstructing a community’s heart and soul is a long, emotional journey for the survivors.
“15 to Life: Kenneth’s Story” — August 4, 10:00-11:00 p.m. ET
Does sentencing a teenager to life without parole serve society? Following a Florida man who received four life sentences at age 15, this eye-opening film reveals a justice system that routinely condemns young Americans to die in prison.
“A World Not Ours” — August 18, 10:00-11:30 p.m. ET
Filmmaker Mahdi Fleifel revisits his former home to share a passionate, bittersweet account of one family’s multi-generational experience living as permanent refugees in southern Lebanon.
“Big Men” — August 25, 10:00-11:30 p.m. ET
Big Men, executive produced by Brad Pitt, goes to Ghana to provide an unprecedented look at the global deal-making and dark underside of oil development—a contest for money and power that is reshaping the world.
TUESDAY:
PBS PREVIEWS: THE ROOSEVELTS
Tuesday, June 17, 2014, 8:00-8:30 p.m. ET
Sample the upcoming Ken Burns documentary THE ROOSEVELTS: AN INTIMATE HISTORY in this exclusive PBS Preview, hosted by Patricia Clarkson. Follow the camera crews into the grand estates and intimate cottages of the Roosevelts. Visit the studio as Burns records the voices of the stars who read the diaries, letters and contemporary accounts of this noteworthy family. And see clips from the monumental series that traces more than a century of life with this influential family.
FREEDOM SUMMER: AMERICAN EXPERIENCE
Tuesday, June 24, 2014, 9:00-11:00 p.m. ET
In the hot and deadly summer of 1964, over 700 student volunteers joined organizers and local African Americans in Mississippi in an effort to shatter the foundations of white supremacy in one of the nation’s most segregated states. Together they canvassed for voter registration, created Freedom Schools and established the Mississippi Freedom Democratic Party to challenge the all-white state Democratic Party at the national convention.
TIME SCANNERS
Tuesdays, July 1-15, 2014, 8:00-9:00 p.m. ET
With cutting-edge technology that can “read” buildings, ruins and landscapes from ancient worlds, this series reveals physical and forensic history, allowing viewers to reach out and touch the past.
“Egyptian Pyramids” — July 1
“St. Paul’s Cathedral” — July 8
“Petra” — July 15
HISTORY DETECTIVES SPECIAL INVESTIGATIONS
Tuesdays, July 1-22, 2014, 9:00-10:00 p.m. ET
In a new format of the long-running HISTORY DETECTIVES, each hour-long episode will ask probing questions behind a single iconic mystery from our past, focusing on major controversial “cold cases” within and outside the United States. Starring Wes Cowan, Tukufu Zuberi and Kaiama Glover.
“Civil War Sabotage”
“Texas Servant Girl Murders”
“The Disappearance of Glenn Miller”
“Who Killed Jimmy Hoffa?”
AL CAPONE (w.t.)
Tuesday, July 22, 2014, 8:00-9:00 p.m. ET
Al Capone — the quintessential self-made American man, ruthless killer or both? Just his name sparks images of pin-stripe suits and bloody violence. To this day, Americans are fascinated by this celebrity gangster. The question is why?
TIME TEAM AMERICA
Tuesdays, August 19-26, 2014, 8:00-10:00 p.m. ET TIME TEAM AMERICA plunges the viewer into the grime and glory of real-life archaeology: epiphany and exhaustion, discovery and disappointment. Through the dirt, sweat, dust and rain, archeologists explore the mysteries of the past. Part adventure, part hard science, part reality show, TIME TEAM AMERICA applies the latest technology and the team’s collective expertise to solving the riddles of the past — against a ticking clock.
WEDNESDAY:
SECRETS OF THE DEAD
Wednesday, July 9, 2014, 10:00-11:00 p.m. ET
“The Other Mona Lisa” (w.t.)
In September 2012, headline news shook the art world. A secret Leonardo da Vinci painting had been uncovered, a portrait of a younger Mona Lisa that predated the Louvre masterpiece. Now, an elite group of experts has gained exclusive access to analyze the painting. Applying high-precision, scientific techniques, they will aim to verify the painting’s date, decipher hidden mathematical codes within it and unravel the clues that point to Leonardo’s genuine hand.
MY WILD AFFAIR
Wednesdays, July 16 to August 6, 2014, 8:00-9:00 p.m. ET
Hear extraordinary stories of the bonds between humans and their animal companions.
“The Elephant Who Found a Mom” — July 16
The intense bond between Aisha, a baby elephant orphan, and Daphne Sheldrick, the woman who became her human foster parent, reaches a crisis point when Daphne leaves Aisha with a babysitter for a few days to attend her daughter’s wedding. Aisha refuses to eat, leading to her death. Heartbroken, Daphne uses the lessons learned from Aisha’s short life to help her save more than 150 orphans over the next 40 years.
“The Ape Who Went to College” — July 23
This is the incredible story of Chantek, the orangutan raised as a human child on an American university campus during the 70s and 80s. Taught to speak in sign language, he is now living among his own kind at Zoo Atlanta, although he describes himself as an “orangutan person.”
“The Rhino Who Joined the Family” — July 30
Rescued from flooding caused by the damming of the Zambezi River, Rupert, an orphaned black rhinoceros, was brought up in the suburban family home of wildlife vet Dr. John Condy. Rupert captured the hearts of the vet’s four young children before his eventual release into the wild. Fifty years later, the children are searching for clues to their childhood friend’s fate.
“The Seal Who Came Home” — August 6
Witness the true story of Andre, a two-day-old wild harbor seal who, in 1961, was rescued from certain death by Harry Goodridge, an arborist from Rockport, Maine. Over the next 25 years, Andre and Harry established a friendship that brought Andre into the world of humans without Andre’s ever having to sacrifice his wildness.
SEX IN THE WILD (w.t.)
Wednesdays, July 16 to August 6, 2014, 10:00-11:00 p.m. ET
Comparative anatomist Professor Joy Reidenberg and vet Mark Evans explore the life and death struggles of earth’s greatest species as they attempt to reproduce in some of the most hostile environments on earth.
OPERATION MANEATER
Wednesday, August 27, 2014, 10:00-11:00 p.m. ET
Veterinary scientist Mark Evans applies his passion for animals and gadgetry to tackle the conflicts between humans and wild animals.
FRIDAY:
AMERICAN MASTERS “Tanaquil La Clercq: Afternoon of a Faun”
Friday, June 20, 2014, 10:00-11:30 p.m. ET
Tanaquil Le Clercq, known as “Tanny,” was the inspiration and then the wife of choreographic genius George Balanchine. She also sparked the creative imagination and adoration of Jerome Robbins. In 1954, at the height of her fame, she was struck down by polio. Nancy Buirski’s film features interviews with those who knew her, including Jacques D’Amboise and Arthur Mitchel, and finds a tone to match Tanny’s exquisite dancing and long, lovely physique, well represented in photos, home movies and kinescopes.
GREAT PERFORMANCES AT THE MET “La Boheme”
Friday, June 27, 2014, 9:00-11:30 p.m. ET
An exciting young cast stars in Franco Zeffirelli’s lavish production of Giacomo Puccini’s popular work, the most-performed opera in Met history. Led by Italian conductor Stefano Ranzani, this production features Italian star tenor Vittorio Grigolo as the passionate poet Rodolfo, and Latvian soprano Kristine Opolais as his fragile lover, Mimi. Hosted by mezzo-soprano Joyce DiDonato.
A CAPITOL FOURTH
Friday, July 4, 2014, 8:00-9:30 p.m. ET; repeats 9:30-11:00 p.m. ET
Two-time Emmy Award-winner Tom Bergeron (Dancing With the Stars) returns to the West Lawn of the U.S. Capitol to host the 34th annual broadcast of the country’s national Independence Day celebration. Bergeron will lead an all-star cast in a patriotic evening of unrivaled musical performances by our nation’s biggest stars, with the National Symphony Orchestra under the direction of top pops conductor Jack Everly. With 20 cameras positioned around the city, viewers are front and center for the greatest display of fireworks anywhere in the nation.
GREAT PERFORMANCES “Gustavo Dudamel and the Los Angeles Philharmonic: Verdi Requiem”
Friday, August 1, 2014, 9:00-11:00 p.m. ET
In commemoration of the upcoming Giuseppe Verdi bicentennial in 2013, Music Director Gustavo Dudamel and the Los Angeles Philharmonic perform a thrilling concert of Verdi’s towering Requiem Mass at the Hollywood Bowl. The concert presentation features soloists Julianna Di Giacomo (soprano), Michelle DeYoung (mezzo-soprano), Vittorio Grigolo (tenor) and Ildebrando D’Arcangelo (bass).
THE ROYAL PAINTBOX
Friday, August 8, 2014, 9:00-10:00 p.m. ET
For the first time on film, His Royal Highness the Prince of Wales reveals an extraordinary treasure trove of rarely seen art by members of the royal family, exploring a colorful palette of intimate family memory and observation. Shot in the spectacular landscapes of Balmoral, Highgrove, Windsor Castle, Frogmore and Osborne House, the program features art by members of the royal family down the centuries, including some of the Prince of Wales’ own watercolors.
AMERICAN MASTERS “Dorothea Lange: Grab a Hunk of Lightning”
Friday, August 29, 2014, 9:00-10:30 p.m. ET
View more than six decades of 20th century America through the prism of Lange’s life and lens. Known for her powerful images from the Great Depression, her haunting “Migrant Mother” remains emblematic of that period. As young America matured into a world power, Lange continued to bear witness, bringing subjects alive, transmitting raw emotions and capturing the human condition. This film is made by Dyanna Taylor, Lange’s granddaughter, who began her artistic vision, literally, at Lange’s feet.
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