Made in Dagenham (2010) - News Poster


International Newswire: ‘Mathilde’ Director to Helm Biopics about Shostakovich, Soviet Rock Star

  • Variety - Film News
International Newswire: ‘Mathilde’ Director to Helm Biopics about Shostakovich, Soviet Rock Star
In today’s International Newswire, the director of the controversial Russian film ‘Mathilde’ pushes forward with his follow-up projects, A&E puts more focus on producing local content, and Women and Hollywood celebrates London ‘trailblazers’.

Director Alexey Uchitel, whose sumptuous period melodrama “Mathilde” elicited a hostile response from some religious and nationalist groups in Russia, has spoken about his upcoming projects to international press at the first Fipresci colloquium dedicated to Russian cinema in St. Petersburg. “Mathilde’s” sales company has also disclosed the latest deals on the pic.

Uchitel’s next feature will center on the late Soviet rock-star Viktor Tsoi, he said. He is also developing a project about Russian composer Dmitri Shostakovich. The helmer will no doubt be hoping for a warmer reception for these movies than that which greeted “Mathilde,” which recounts the passionate affair between the future Tsar Nicholas II and the Imperial Ballet star Mathilde Kschessinska.

The film almost
See full article at Variety - Film News »

Women and Hollywood Announces London Trailblazer Awardees & First-Time Female Filmmaker Contest…

Women and Hollywood Announces London Trailblazer Awardees & First-Time Female Filmmaker Contest WinnersTrailblazer Awardee Gurinder Chadha

Women and Hollywood is honored to share the recipients of the Trailblazer Awards, which will be given out during our upcoming 10th Anniversary event in London November 27 at The May Fair Hotel.

The awardees are director Gurinder Chadha (“Viceroy’s House,” “Bend it Like Beckham”), producers Alison Owen (“Harlots,” “Suffragette”) and Elizabeth Karlsen (“Carol,” “Made in Dagenham”), Robert Fox Ltd theater producer Zelda Perkins, BFI London Film Fest director Clare Stewart, and Bechdel Test Fest’s Corrina Antrobus and Simran Hans.

“Women and Hollywood has been highlighting the need for gender equality since before the conversation became mainstream. We are thrilled to be honoring these incredible women, from accomplished producers Alison Owen and Elizabeth Karlsen, to groundbreaking director Gurinder Chadha, to Clare Stewart, the leader of the BFI London Film Festival, as well as next
See full article at Women and Hollywood »

“I love watching old movies…” Stephen Woolley interview: ‘Their Finest’

Their Finest is out to buy this week. Starring Gemma Arterton, Sam Claflin and Bill Nighy, it tells the story of British propaganda during the Second World War and the strong bond developed between people from all walks of life in the face of conflict.

This warm-hearted and intelligent film is co-produced by the legendary Stephen Woolley (of A Company Of Wolves and The Crying Game amongst others), who with Amanda Posey and Elizabeth Karlsen delved into the archives and uncovered the fascinating truth behind the celluloid war effort. We caught up with Stephen for an in-depth chat about the production…

Thn: How did the project come to your attention?

Stephen Woolley: I was given the book (Their Finest Hour And A Half by Lissa Evans) and I loved it. The humour of it was exactly on my level. People were saying “You’d love it because it’s
See full article at The Hollywood News »

Rlj Entertainment Picks Up Us Rights to The Limehouse Golem, Starring Bill Nighy & Olivia Cooke

  • DailyDead
If you're already having Bates Motel withdrawals and you're going to miss Olivia Cooke's performance as Emma, Rlj Entertainment might have just the cure for what ails you, as they've just acquired the Us rights to The Limehouse Golem, a new serial killer thriller set in London and starring Cooke alongside Bill Nighy.

Keep an eye out for The Limehouse Golem in theaters and on VOD beginning September 8th, and check out the official press release with full details on the film:

Press Release: Los Angeles, June 1, 2017 – Rlj Entertainment (Nasdaq: Rlje) has acquired U.S. rights to the thriller The Limehouse Golem. Based on the novel “Dan Leno and the Limehouse Golem” by Peter Ackroyd, the film was written by the acclaimed writer Jane Goldman (Kingsmen, The Woman in Black), directed by Juan Carlos Medina (Painless) and produced by Stephen Woolley (Their Finest, Interview with a Vampire), Joanna Laurie
See full article at DailyDead »

The Limehouse Golem: first trailer for new horror

Simon Brew May 10, 2017

Bill Nighy headlines The Limehouse Golem, which threats to spook the nation this September. Here's the trailer...

British cinema screens are currently being treated to a bit of Bill Nighty action with Their Finest, that’s currently playing and well worth seeking out. He’s going to be back in your multiplex later this year too, thanks to the new horror The Limehouse Golem. Penned by Jane Goldman and directed by Juan Carlos Medina, the cast for this one also includes Olivia Cooke, Douglas Booth and Eddie Marsan.

A first trailer and official synopsis have been release for the movie, and we’ve got them both right here. As tradition dictates, we’ll do them in the order in which you’re interested.

Here’s the trailer…

And here’s the synopsis…

A serial killer stalks the Limehouse streets of Victorian London in 1880, the terrified population of
See full article at Den of Geek »

The Limehouse Golem UK trailer lands online

Lionsgate UK have released The Limehouse Golem UK trailer ahead of its release this coming September.

A serial killer stalks the Limehouse streets of Victorian London in 1880, the terrified population of this squalid district of the East End believe that the “Golem”, a monster from Judaic mythology, is responsible. Inspector Kildare of Scotland Yard is handed the impossible task of solving these heinous crimes and his investigations lead him on a race across the capital from The Old Bailey, to Newgate Prison, to the music halls of London and the British Museum. His chief suspects are music hall superstar Dan Leno, political agitator Karl Marx, writer and philosopher George Gissing and journalist John Cree. Kildare believes that famed performer Little Lizzie Cree, who is almost certainly destined to hang for the poisoning of her husband, holds the key to the identity of the real Golem. Kildare must solve the case and in doing so,
See full article at The Hollywood News »

Bill Nighy ventures to 1800’s London in search for a Golem in The Limehouse Golem

  • HeyUGuys
Author: Zehra Phelan

The beloved Bill Nighy is set to wow again after his latest stint in Their Finest as he takes the lead in 1880’s London on the search for a mythological beast who is believed to be a serial killer in the forthcoming The Limehouse Golem. Watch the new trailer below which has just been released alongside a poster.

Related: Bill Nighy interview on Their Finest

The Limehouse Golem is another big screen offering which is based on a novel, 1994’s ‘Dan Leno and the Limehouse Golem’ to be precise. A period thriller in which there are no signs of the Pokemon Golem whatsoever, however the Golem in this tale is based the animated anthropomorphic being from Jewish folklore. Bill Nighy takes the reins in a story set before the murders of Jack the Ripper, where a monster of the same magnitude is on the loose slaughtering all
See full article at HeyUGuys »

Gemma Arterton Talks Sexism and Likability in “Their Finest”

Their Finest

Their Finest” sees Gemma Arterton playing Catrin, a young woman hired to write lines for women in British war propaganda movies. It’s a movie within a movie dealing with gender roles in the ’40s that at times feels all-too-relevant to today. We talked to the British actress about starring in a female-led film, working with the film’s director, Lone Scherfig, and why she’s sick of hearing about likability.

Their Finest” opens in theaters April 7.

This interview has been edited. It was transcribed by Kelsey Moore.

W&H: I’ve been waiting to meet you for a while. We’ve given you the “Hollywood Feminist of the Day” mention at Women and Hollywood three times. You say many things that are meaningful to us.

So first, let’s talk a bit about the movie. What drew you to this role?

Ga: Well, when you’re making a female-centric movie, the female role is often kind of strong and feminist, or she knows what she wants. I don’t think that’s helpful, because I think that women are all sorts of people, and we just need to tell stories about women in general.

I read this role and thought, yes, she goes along and finds her voice and all of that. But, she starts off as someone who is quite accepting of her situation and of the sexism of that time. For instance, one of the first things that she’s told is, “We can’t pay you as much as the men,” and she just replies, “Oh, of course.”

So, it was really helpful that it was set in the forties where it was just the way it was. But, at the same time, what I liked about her was that she was able to be observant, timid, and a bit more gentle. She’s surrounded by all these really strong characters, which meant that she could be not that strong. I found that quite refreshing; it meant that I could play something different than the usual.

W&H: Do you think we’ve been stuck in a place where women have had to be a certain way because we haven’t had enough women-centric movies?

Ga: Yeah. Do you mean because we’re not being shown to [our] full extent?

W&H: Exactly. So, women have to be this, but men can be all of this.

Ga: Yeah, it’s like that thing which I hate: “likable.” Who gives a fuck about “likable?” Often women have to be likable.

I remember doing a movie years ago called “Tamara Drewe,” and she’s not a likable character — she cheats, she’s a homewrecker — and I thought, well, that’s okay. Then, I did another film [based on work] by the same author, Posy Simmonds, and I really like her as a writer because of how she writes these women.

Women like Jane Eyre aren’t likable, you know. I find that really frustrating. I think that, in literature, we’ve got so many different types of women who aren’t necessarily strong or likable. In film, I don’t know why — maybe it’s because people who finance films are certain types of people — women just can’t be women.

W&H: We really wonder why they think this is what the public wants.

Ga: Yeah. I think it’s a really exciting time now, and I can speak from my own experience. I’ve started producing all of the films that I have on this year’s slate. I’m developing and/or co-writing projects. I made a film last year that I produced and wrote. These aren’t likable characters — they’re just multifaceted women. Sometimes they’re likable, sometimes they’re not.

I think that’s what we need to do. We need to give space for telling stories about actual, real women. That’s what I liked about this film. Even though she’s gentle and sweet, she’s not your typical female character; there are flashes where she’s impetuous, stressed out, or even pissy. I liked the script because it was an ensemble cast and there was enough space for this kind of character.

W&H: Absolutely. Did you start producing on your own because you felt that the scripts you were getting weren’t up to the standards you were looking for?

Ga: Yeah. I’m very luck to be sent so much stuff, but it’s very rare that I get sent something that really excites me — something that I’m passionate about.

That’s why I started developing. I’ve come across things or I’ve been sent scripts that would be really difficult to make. My passion lies where I just have an idea or work with writers. Sometimes, my agents will show me something and will tell me, “This isn’t good enough for you,” and I know it. It’s really, really tricky.

W&H: If you get, say, ten scripts, how many of them do you think are even worthy of your read?

Ga: Well, I have amazing agents that read everything for me. They’ll only send me stuff that they think are worthy for my read. But even so, with those I’d say maybe one in ten.

W&H: Yeah — not surprised. So, tell me if I’m wrong, but it looks like you made some bigger movies in the beginning of your career and have since moved yourself into a place where it’s more independent. Does this have to do with what we’ve just been talking about — the idea of “this is not what I want my life to be?” The overt and covert sexism? How have you shaped your career and choices?

Ga: It’s kind of similar to what happens to my character Catrin in the film. I started off just feeling grateful and not really aware of the fact that I was a creative artist.

Even though I’d started acting a few years earlier and I had done all of this physical theater — which is about devising theater and coming up with all of these ideas — I was suddenly in this place where I thought, “Well, thank goodness I’m even being considered for this, and this is how you do it.” I lost touch with who I was in the sense that I stopped doing theater, which is where I can really express myself.

In a weird way, I look back on those films and am grateful for them because they showed me what I didn’t want to do. They actually gave me the impetus to start my own production company and look at things in a different way. That said, that early part of my career was peppered with really important work that was the “true me.”

Also, I really enjoy collaborating. I love working with other people, and I love discussing ideas. That why I love working with director Lone Scherfig and producers Stephen Woolley and Amanda Posey — they collaborate with their actors and writers, and everyone gets in the room together and talks. We talked with Lone and screenwriter Gaby Chiappe six months before we started shooting, and I was able to give opinions and rework some stuff.

That is the way I work. In the theater, that’s how you work: you’re part of a team. When it’s a huge machine, that’s really hard to do. There are so many other people, and so you’re not able to get in a room together. So for me, independent, smaller projects are the way to do it. I can’t work in any other way now.

W&H: It’s interesting because a lot of what Catrin goes through in the film is still relevant. It felt really contemporary.

Ga: I’m so pleased. Lone will be really pleased to hear you say that, because even though it’s a period piece, we wanted it to feel current. I think that’s all in the script — with what she’s going through, all this propaganda filmmaking, and there’s so much stuff that is relatable.

Catrin is progressive. I don’t think that Stephen Woolley, who is a massive feminist, would make the movie otherwise. It’s probably what drew him to the book in the first place — that it’s about film, but it’s also about a woman within the film industry and how that is.

Even today, I just played Saint Joan in Josie Rourke’s “Saint Joan,” and we decided that I would be the only woman in the production — even though we had a female director who is hot on gender balance, cross casting, and all of that. She said, “ I think it’s right that you’re the only woman, because to be the only woman in the room is really saying something.”

Even though Catrin wasn’t the only woman in the film — she has “fill” to back her up — in the writer’s room, she’s often on her own, and that’s how it was back then. My character is based on a real woman, Diana Morgan, who was a screenwriter for Ealing Studios. She was brought in to write the “nausea,” what we call “slop” in the movie — the women’s dialogue. That was a real thing. Then she became a successful writer. She was an excellent writer, but she had to write under a male pseudonym because they wouldn’t put a woman’s name on the movie poster unless you were an actress.

That was the 1940s, and things started to change in the ’60s, but…still.

W&H: I feel like people who know Hollywood will recognize a lot of the dialogue and many of the things that went on for Catrin as things that still go on today.

Ga: Yeah.

W&H: How do you feel about the fact that women in the USA and other places are now talking about equal pay for equal work? Do you have thoughts on that?

Ga: I think it’s excellent. I think that equal pay for equal work is how it should be. I’ve spoken about this before. It’s tricky in the film industry to quantify that though, because sometimes someone’s worth is more. If it’s equal work, it’s really difficult to quantify.

W&H: I mean, it’s all gendered. Men are given more clout because the world values men more. So, we’re never going to have the same amount of clout because it’s just the way it is. But, I find it interesting that now something has shifted where women feel that they won’t be blacklisted for speaking up.

Ga: Yes, now they can say it.

W&H: Do you remember when it happened? I do have a theory regarding when it shifted, when women felt safer to talk about these issues.

Ga: Well, obviously the Sony hack brought it into the light. Then, it became a big talking point, and this is the thing: just talking about it is really helpful.

I have a friend who’s a director, and she hates being constantly asked, “What is it like being a female director?” I know Lone is the same way. My friend will say, “I’m a director. Don’t talk to me about that, because actually what you’re doing is making a problem.” But actually, the solution — what we want to get to — is where you just call yourself a director, or an actor, or a writer. But we’re not there, so we need to talk about it, and we need to make a thing of it.

I feel like that’s what happened with the pay conversation. There was a moment in time where it all just kind of blew up, and it became this thing that everyone was talking about. Now, it’s given people the confidence to say, “What is my costar getting paid?”

In the workplace, I think it’s different. I think people still don’t have the confidence to ask what their coworkers are getting paid. But, it being spoken about makes people understand that they aren’t the only one feeling this, or that it’s not right.

W&H: It’s interesting. Women on red carpets and in other interviews are always asked if they’re feminist, but men are never asked any of those questions. Do you have any thoughts as to why we put women through that? What is it about our world that we need to test women if they’re feminists now? Shouldn’t we all be feminists?

Ga: We should all be feminists.

W&H: Do you get asked that a lot?

Ga: Well, everyone knows I’m a feminist, so they don’t ask me. I even used to have this necklace that was a big gold chain that said “feminist” on it. Everyone just knows it. They don’t ask me anymore. But, I kind of find it the most preposterous thing to be asked because I’m like, “Well, yeah.”

I think the word has different connotations in different cultures. I think it’s seen as a negative thing in a lot of cultures, as if you’re a man-hater. But it’s not.

For me, “feminist” means somebody that believes that men and women are equal, and because we’re not there yet, feminism is a movement to get there.

W&H: Yes. For me, my work has been about women and raising awareness about women, so I always ask about female directors. But when I started ten years ago, no one talked about this at all.

Ga: I know. It’s crazy. I think it’s amazing that it is such a talking point now and there are organizations like Women In Film.

W&H: And Women In Film have been around for 35 years.

Ga: But it’s really gotten credence now, and people are really taking this kind of thing seriously.

W&H: Do you think that this is a feminist film?

Ga: Yeah. It’s a film that points women in a good light and gives women the space to talk. And we pass the Bechdel test.

W&H: She fights to be equal.

Ga: She does, and she does it in a way that’s not a kind of “Made in Dagenham” way.

W&H: I love that movie.

Ga: I love that movie too — Stephen Woolley made it, and I did the musical version.

W&H: How was that?

Ga: It was fantastic and one of my proudest moments, doing that play. But, that’s a different thing. It’s a political film and it was about that specific movement.

With this, there’s so much going on, and I think that’s why Lone is such an incredible director. There’s so much going on, and all of these things just kind of happen. They’re not in your face — you can just let them sink in. It’s so fast-paced that there’ll be a sexist remark that makes you gasp, then you’re on to the next thing, and I think it just washes over you. I think that’s more powerful in these kind of movies than shouting about it.

Also, I would hate to call this a feminist movie if it stops people who need to see it from going to see it. Loads of people didn’t see “Suffragette” because they thought, “It’s a feminist movie, and I don’t want to see that kind of movie.”

W&H: Yeah, but everyone went and saw “Beauty and the Beast.”

Ga: I haven’t seen it, but I think that’s great.

W&H: It’s had the seventh-highest largest opening ever in the United States. Okay, last question: Is there anything that people don’t know that you want them to know about you or the movie? Any misconceptions about Gemma?

Ga: There are a lot of misconceptions about me, but that’s okay. I’d like my work to speak for itself. I don’t feel like I need to prove anything too much — I just want it to go out there and see what it does.

Gemma Arterton Talks Sexism and Likability in “Their Finest” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Their Finest: Gemma Arterton And Lone Scherfig On Making The WWII Film

  • LRM Online
There have been many, many movies about World War II, and of course most of them are like Saving Private Ryan, or last year’s Hacksaw Ridge as they focus on the brave heroes who went off to war and found a way not only to survive, but also come home as heroes.

Their Finest, based on Lissa Evans’ 2009 book Their Finest Hour and a Half, instead focuses on the brave women back home who did their part to try to keep spirits up and continue to support the British troops overseas.

In the movie, Gemma Arterton plays Catrin Cole, an ad writer hired to write the female dialogue (or “slop”) for the British Ministry of Information’s propaganda films they release to inspire the people back in England. Working with screenwriter Tom Buckley (Sam Claflin), Catrin finds the story of two twin sisters who borrow their father’s boat
See full article at LRM Online »

7 Minutes opens Italian Film Festival by Amber Wilkinson - 2017-03-04 10:49:47

Industrial relations drama 7 Minutes opened the Italian Film Festival. Michele Placio: 'I demonstrates what's happening in Europe today'

Michele Placido's 7 Minutes (7 Minuti) opened the Italian Film Festival at Edinburgh Filmhouse last night with the director in attendance. Introducing the film, Placido described the festival - which runs until March 16 at venues in Edinburgh, Aberdeen, Glasgow, Inverness and Dundee - as "a small festival and a great festival at the same time".

His film is based on the true story of female workers at a textiles firm who are asked to agree on a small change to their terms and conditions during a takeover of their factory. Echoes of workers rights film Made In Dagenham combine with the tension of 12 Angry Men as the women, from a range of different backgrounds and ethnicities, must put the decision to a vote. It's a subject which will strike a chord across European
See full article at »

Films For Labor Day Weekend

Labor Day celebrates working people and the labor unions that brought working people the 40-hour work week, the 8-hour day, overtime pay, work-place safety, paid holidays and vacations, and a host of other protections and benefits. To honor those hard-working people and organized labor, here is a list (in no particular order) of a dozen worthy narrative films for Labor Day.

Norma Rae (1979)

For many people, the words “labor union” bring to mind the image of Sally Field standing up in defiance in “Norma Rae.” Field won an Oscar for her unforgettable, inspiring character, a worker in a Southern textile factory who becomes involved in labor organizing and stands up to management after the factory workers’ health is threatened in the workplace. This stirring drama, based on a true story, also stars Beau Bridges as Norma Rae’s husband Sonny and Ron Leibman as an union organizer from the Northeast.
See full article at »

Creative England launches emerging producer initiatives

Creative England launches emerging producer initiatives
Two programmes aim to facilitate budding producers with the skills to deliver first and second features.

UK creative industries agency Creative England has launched two initiatives aimed at emerging film producers.

Producer Hothouse will be a professional development programme in which up to ten successful applicants will undertake a six-month placement at an established production company.

The potential host companies are: Sheffield’s Warp Films (This Is England); Ridley Scott’s London-based Scott Free Productions (Before I Go To Sleep); 42 (Welcome To The Punch), Altitude Film Entertainment (Kill Your Friends), Number 9 Films (Made In Dagenham), Pulse Films (American Honey), Trademark Films (My Week With Marilyn) and Vertigo Films (StreetDance).

The programme will be open to producers based outside of London in England or Scotland who are working on either their first or second features. Entrants will be able to progress their own projects alongside development responsibilities at host companies. They will also receive a bursary of $12,000 (£9,000) to
See full article at ScreenDaily »

Christine Langan exit: industry reacts

  • ScreenDaily
Screen canvasses industry opinion on Langan’s tenure and the prospects for one of the UK’s cornerstone funders.

There have been warm tributes to Christine Langan as news broke yesterday of her impending departure from BBC Films to join UK production outfit Baby Cow.

Attention is also now beginning to turn to who is likely to be her successor and what plans the BBC has for its film arm in the long run.

“Christine leaves BBC Films in good shape,” commented producer Stewart Mackinnon of Headline Pictures, who worked with the broadcaster’s film arm on titles including Quartet and The Invisible Woman, among other projects.

Pride producer David Livingstone noted Langan’s “incisiveness.”

“The thing I remember particularly about Christine is her giving very good notes about the final editing of the film (Pride). She was very clear and very precise, and with a light hand on the tiller,” Livingstone said.

See full article at ScreenDaily »

U.K. Film, TV Industry Players React to ‘Seismic’ Brexit Decision

British voters’ stunning decision to turn their backs on the European Union has left many of the country’s leading TV and film players reeling. Here, some of them reflect on the new, uncertain situation Britain now finds itself in and how it might affect the industry.

Jane Tranter’s production company Bad Wolf has a first-look deal with HBO, and is producing BBC-New Line TV series “His Dark Materials.” Previously, as a BBC senior executive, her credits included “Doctor Who” and “Da Vinci’s Demons”:

“The news is bleak. Like many I am embarrassed and ashamed of how our politicians, on all sides and all parties, have handled this referendum.

“From a practical and cultural point of view, the U.K. television industry is today steeling itself to working with Europe from a position of isolation and unknown financial future and regulation. From a creative point of view, I
See full article at Variety - TV News »

U.K. Film, TV Industry Players React to ‘Seismic’ Brexit Decision

British voters’ stunning decision to turn their backs on the European Union has left many of the country’s leading TV and film players reeling. Here, some of them reflect on the new, uncertain situation Britain now finds itself in and how it might affect the industry.

Jane Tranter’s production company Bad Wolf has a first-look deal with HBO, and is producing BBC-New Line TV series “His Dark Materials.” Previously, as a BBC senior executive, her credits included “Doctor Who” and “Da Vinci’s Demons”:

“The news is bleak. Like many I am embarrassed and ashamed of how our politicians, on all sides and all parties, have handled this referendum.

“From a practical and cultural point of view, the U.K. television industry is today steeling itself to working with Europe from a position of isolation and unknown financial future and regulation. From a creative point of view,
See full article at Variety - Film News »

Andrea Riseborough Compares ‘Bloodline’ Character to ‘Star Wars’ Death Star

Andrea Riseborough Compares ‘Bloodline’ Character to ‘Star Wars’ Death Star
British actress Andrea Riseborough is such a chameleon, it’s not a surprise to hear her say she’s never used her own accent in any of her roles. “I have a strong northern accent, I’m from a country where we make a lot of films about posh British people,” she notes. “I was a little worried that I wouldn’t be respected or everything would go away if people knew who I truly was, someone from a working class place in Britain.”

Those who see Riseborough in Season 2 of “Bloodline,” now streaming on Netflix, might not even recognize the actress who has donned various accents and hair colors in such films as “Birdman,” “Oblivion” and “Made in Dagenham.” She plays Evangeline, the mother of Nolan (Owen Teague), the son sired by the now-deceased Danny Rayburn (Ben Mendelsohn). Created by Todd A. Kessler, Daniel Zelman and Glenn Kessler (referred
See full article at Variety - TV News »

BBC and Netflix announce star-studded animated adaptation of Watership Down

The BBC and Netflix have announced that they are partnering up for a four-part animated miniseries adaptation of the beloved novel Watership Down, which will premiere on BBC One in the UK and on the streaming service around the world in 2017.

The series, written by Tom Bidwell (Bafta-nominated My Mad Fat Diary) and directed by Noam Murro (300: Rise of the Empire), will star James McAvoy (Filth) as Hazel, Nicholas Hoult (Mad Max: Fury Road) as Fiver, Ben Kingsley (Iron Man 3) as General Woundwort, John Boyega (Star Wars: The Force Awakens) as Bigwig, Gemma Arterton (Made in Dagenham) as Clover, Miles Jupp (The Thick of It) as Blackberry, Freddie Fox (Pride) as Captain Holly, Olivia Colman (The Night Manager) as Strawberry, and Anne-Marie Duff (Suffragette) as Hyzenthlay.

“Like many generations of readers Richard Adam’s novel had a profound effect on me and is a true masterpiece,” states director Noam Murro.
See full article at Flickeringmyth »

James McAvoy, John Boyega, Nicholas Hoult Join Netflix-BBC’s ‘Watership Down’

James McAvoy, John Boyega, Nicholas Hoult Join Netflix-BBC’s ‘Watership Down’
London — James McAvoy, John Boyega, Nicholas Hoult and Ben Kingsley have joined the voice-cast of Netflix-BBC animated TV miniseries “Watership Down,” based on Richard Adams’ novel.

The four-part show, which will be finished next year, will be available worldwide, outside of the U.K., on Netflix, and on BBC One in the U.K.

Set in the idyllic rural landscape of southern England, the adventure tale follows a band of rabbits on their flight from the intrusion of man and the certain destruction of their home. Led by a stouthearted pair of brothers, they journey forth from their native Sandleford Warren through the harrowing trials posed by predators and adversaries, toward a promised land and a more perfect society.

The series, written by Tom Bidwell (BAFTA-nominated “My Mad Fat Diary”) and directed by Noam Murro (“300: Rise of the Empire”), will star McAvoy (“Filth,” “X-Men”) as Hazel, Hoult (“Mad Max: Fury Road,
See full article at Variety - Film News »

Miranda Richardson Joins Jake Gyllenhaal’s Boston Marathon Bombing Movie ‘Stronger’

Miranda Richardson Joins Jake Gyllenhaal’s Boston Marathon Bombing Movie ‘Stronger’
Miranda Richardson and Clancy Brown have joined Jake Gyllenhaal and Tatiana Maslany in Lionsgate’s Boston Marathon bombing movie “Stronger,” with production starting this week in Boston.

Gyllenhaal stars as Jeff Bauman, while Maslany plays his girlfriend Erin Hurley. Brown (“Hail, Caesar!”) will portray Bauman’s father.

The film is a production of Lionsgate’s Summit Entertainment label, Mandeville Films, Bold Films and Nine Stories. It’s Gyllenhaal’s first production under his Nine Stories banner.

Inspired by a true story and based on the New York Times bestseller, Gyllenhaal stars as the working-class Boston man whose iconic photo from the 2013 Boston Marathon bombing gained worldwide notice.

Bauman was waiting for his girlfriend at the finish line of the marathon when two pressure-cooker bombs exploded, killing three people and injuring more than 260 others. When Bauman awoke the next day after surgeries and realized he could not speak, he asked for
See full article at Variety - Film News »

Round-Up: The Wave Blu-ray / DVD, An Ending, Sacrifice, The Divine Tragedies, Night Wolf

  • DailyDead
Roar Uthaug’s The Wave crashes on the shores of Blu-ray, DVD, and Digital HD on June 21st. Also in this round-up: production details on Jessica Cameron’s An Ending, release details for Sacrifice and The Divine Tragedies, and Kickstarter launch details for Night Wolf.

The Wave: “Nestled in Norway’s Sunnmøre region, Geiranger is one of the most spectacular tourist draws on the planet. With the mountain Åkerneset overlooking the village — and constantly threatening to collapse into the fjord — it is also a place where cataclysm could strike at any moment. After putting in several years at Geiranger’s warning centre, geologist Kristian (Kristoffer Joner) is moving on to a prestigious gig with an oil company. But the very day he’s about to drive his family to their new life in the city, Kristian senses something isn’t right. The substrata are shifting. No one wants to believe
See full article at DailyDead »
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