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Lionsgate Reportedly in Talks To Take Up Roger Ailes Biopic

Report: Lionsgate in talks to take up Roger Ailes biopic

According to Deadline, Lionsgate may be in talks to take over director Jay Roach’s biopic on the late Fox News chairman and CEO Roger Ailes. This news comes just days after Annapurna dropped the project, titled Fair and Balanced, over budget issues. The last estimate put the film’s budget over $35 million.

Specifics of this new deal are unclear, as some sources say the project is in development, though reportedly nothing has been signed as yet.

The film is described mostly as an ensemble piece, with the majority of the focus being on former Fox News chief Roger Ailes (John Lithgow, The Crown) and his ultimate downfall that came about after a number of women, including Gretchen Carlson (Nicole Kidman) and Megan Kelly (Charlize Theron), sued him for harassment. Other characters that will be included in the film are former anchor Greta Van Susteren and former host Bill O’Reilly.

Margot Robbie (Suicide Squad), Allison Janney (I, Tonya) and Kate McKinnon (Ghostbusters) also star. Robbie will play a fictional Fox News associate producer, while Janney will portray Susan Estrich, Ailes’ attorney who represented him after multiple workers at Fox News accused him of workplace sexual harassment.

Ailes was fired from Fox News within weeks of Carlson’s suit after several more women came forward with similar allegations of sexual misconduct. Murdoch, who put Ailes in charge of the network in 1996, was one of the news chief’s strongest supporters, though he ultimately made the decision to fire Ailes.

Jay Roach (Game Change) is set to direct the film and Charles Randolph (The Big Short) has penned the script for the project. Theron will also be producing the feature along with Beth Kong and AJ Dix via Denver & Delilah. Roach, Randolph, and Margaret Riley are also producing.

(Photo credit: Getty Images)

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CS Interview: Film Historian Amanda Reyes Talks Made-for-TV Horror

CS Interview: Film Historian Amanda Reyes Talks Made-for-TV Horror

On October 13 at 12pm, the Miskatonic Institute will team with the Brooklyn Horror Film Festival to present film scholar and archivist Amanda Reyes in person for a class on the Made-for-TV horror film. ComingSoon.net had the chance to chat 1:1 with Reyes about TV horror and why vintage TV movies are making a comeback in popularity! Check out the interview below!

RELATED: Exclusive Made-for-TV Horror Event Trailer From Miskatonic Institute

Although rarely held in high regard by critics, the made for television horror film remains an intriguing artifact of network programming. Any subgenre was up for grabs, and the output was disparate, vast, and surprisingly subversive, often producing a collective memory (or trauma, depending) shared by millions of viewers. This retrospective on the golden age of the telefilm and beyond will be hosted by Amanda Reyes, editor and co-author of the indispensable guide “Are You in the House Alone? A TV Movie Compendium: 1964-1999.”

Click here to get tickets to Miskatonic’s Big Scares on the Small Screen!

RELATED: The 15 Best Horror TV Movies of the 1970s

ComingSoon.net: So what was the gateway drug into TV movies for you, both initially and if you had a period where you rediscovered it?  

Amanda Reyes: So I grew up in the 70’s and I grew up in California for the first few years of my life. When I was about four, we had a local station there and they introduced me to “Gargoyles” and “Don’t Be Afraid of the Dark” around the time I was four.  I could watch “Gargoyles” the whole way through, I loved it. I thought it was fascinating. I loved the monsters in it, but “Don’t Be Afraid of the Dark” terrified me and I couldn’t watch the whole film until I was an adult. I remember it coming on TV, and just from the opening with the black cat that comes in over the credits I was terrified. Through the years I saw portions of it on television, but never really the whole film until I was an adult. I went to New York in 2002 and my friend took me to Kim’s Video and I bought a bootleg of it and I watched it the whole way through. I was in my 30’s and I was like, “No, it’s so scary.” So it was one of those movies that haunted me through the years, just because of how it impacted me as a child. It was around that time I was starting to really get back into TV movies. I don’t really know what sparked it exactly, but I had a friend who had a zine called “Debaser,” and he told us we could write articles on anything we wanted. So, I decided that I would write about TV movies, because I hadn’t really seen anybody doing that at the time. This would’ve been around 2002 or so.

In LA, which is where I was living, there was something called “Eddie Brandt’s Saturday Matinee.” For every regular movie you rent they have movies that were just taped off TV that you can borrow for free, because you can’t make money off of them because they’re essentially bootlegs. I would rent “The Hardy Boys” episode 2, season 1, or whatever, and I would ask for “Bad Ronald” or copies of “This House Possessed” or something. I started going back and watching the movies I remembered and then looking for the ones that I kind of remembered, but didn’t know the titles of. I started looking for ones that people had talked about that I hadn’t seen. I loved it. I loved that they were lost films. Most of them were really good. They’re underrated. It kickstarted something in me. So I started collecting as many as I could after that.

CS: It sounds like “Don’t Be Afraid of the Dark” was sort of the traumatic catalyst, and also became sort of your sort of gateway back into that era in rediscovering that part of your childhood?

Reyes: Well, I also forgot. You watch them and they sort of go into your mind somewhere. Later on someone will give you a title and you forgot you even saw it. So I grew up watching TV movies all the time, but I wasn’t thinking of them as TV movies. They were just movies I saw while I was hanging out. Going back it was amazing how many I had actually seen, and yet there’s still thousands I have yet to find. There’s just so many TV movies, you’re never going to see them all. That’s kind of what drives me, because I want to see them all, you know?

CS: There are certain ones, like you did a podcast about “The World Beyond,” which is a great creepy TV pilot. There was another one they had made prior to that, “The World of Darkness,” that’s completely unavailable anywhere.

Reyes: Yeah, I can’t find that one at all. I mean, I’ve seen the opening for it. I think somebody posted it on YouTube, but I’ve never been able to find the episode proper.

CS: It begs the question of how many lost mini masterpieces are there from the late 60’s, early 70’s that maybe weren’t preserved or videotaped or kinescoped? Or, heaven forbid, just got erased to make way for other stuff.

Reyes: Well, apparently, the ABC “Wide World of Mystery” series, which was the show that aired late at night that showed a lot of episodes of Brian Clemens’ “Thriller,” they did original productions and very few of them have survived. A guy made a list on Letterboxd, which is probably the most complete list I’ve seen of what ABC produced themselves. He’s looking for all of them, and most of them are just gone. He’s gone deep and all over the world to look for them. I don’t know if they’ve been taped over, but he went through the whole thing. It’s very complicated. Yeah, I’d say at least 80 percent of that catalogue, and that’s a number that I’m making up here, I don’t know, it’s a huge portion of this catalogue is gone, according to him.

CS: Unfortunately, there’s no Martin Scorsese out there championing the restoration and preservation of these “trash” TV movies. But they’re great and they are a part of our collective memories and culture and they do deserve to be resurrected. What is interesting is -and I don’t know if your book was a catalyst- but in the last couple years you have started to see a lot TV movie titles from that era starting to come up on Blu-ray. You’ve actually been doing audio commentaries on a few of them, like “The Spell” and John Carpenter’s “Someone’s Watching Me!”

Reyes: I have. I do think, though, it’s kind of the nature of the beast, because I was talking to somebody at Warner Archives and they started releasing TV movies about 10 years ago. They said they saw something was going to happen with TV movies. People who can look forward into the world of physical media and home video understand cinephilia better than other people. With everything becoming so available, there’s still all these movies that haven’t really been looked at. Some of them never even have the home release, so they’re lost. They saw that there was going to be a turn in interest, because when you supposedly everything available to you, what’s left? These TV movies were reaching into something that was going to allow physical media to keep going and was going to be interesting to people who loved to collect things and who wanted to see everything. I’d love to think my book was a catalyst, but I really think it just came out at the right time because there was already a shift in interest in TV movies before it even came out. I got lucky.

CS: I write a weekly Blu-ray column, and I can tell you the Blu-ray market that’s still thriving is targeted at the connoisseurs, the collectors. They are the older audience that actually remembers these movies and wants to revisit them, or the younger audience like me that wants to experience them for the first time, because lord knows we don’t need another edition of “Evil Dead.”

Reyes: Right. So true, yeah. With so many movies that aren’t available, it’s amazing how much gets repurposed. I understand there’s a lot of licensing issues, especially with TV movies. A lot are co-owned between the network and the studio, so it’s difficult to know who has the rights for home video release. Sometimes there was no home video release clause, because in the 70’s nobody even anticipated that. So there might be re-run contracts, but home video becomes a murky market for certain companies.

CS: There’s famous ones like “The Burning Bed”. That would be considered a Lifetime type movie now, but that movie was seen by tens of millions of people.

Reyes: Oh my god, so many people. And changed lives and changed our ideas about spousal abuse. And “A Case of Rape” was a movie that came out in ’73, with Elizabeth Montgomery, and that changed our whole dialogue about how we treat sexual abuse victims. There’s a lot of groundbreaking TV movies like that.

CS: There’s a couple I wanted to ask you about specifically, just because they’re really interesting to me. One you actually talked about in-depth on your podcast, which is “The Norliss Tapes.” It’s interesting because it is like a bizarro world version of “Kolchak.”

Reyes: Yeah, for sure, yeah.

CS: And also, it was intended as a pilot. In terms of evaluating it as a viable pilot, the whole premise of the show is a found footage kind of a thing where he’s left behind these tapes and he’s describing these supernatural incidents that he was involved in. At the very end, where the guy puts in the second tape, I was like, “What if this show lasted six seasons?” Would it have been like, “Tape 157?”

Reyes: Yeah, it’s great. It’s so good. I think it had such potential and it just didn’t catch on. William F. Nolan wrote a prequel to it as well, but I’ve never seen a copy of it. I read about it in Jeff Thompson’s book on Dan Curtis.

CS: It was unproduced, right?

Reyes: Yeah, but I think it exists. I think it was written fully, but I’m not positive of that. But I really, I like “The Night Stalker.” It’s really fun and it’s hard to deny that Darren McGavin is the most charismatic person that ever walked this planet. I understand why “The Norliss Tapes” didn’t work in that respect, because as much as I love Roy Thinnes, he was so sober in that that I could see where maybe that was a problem. I even hate saying that, though, because I prefer “The Norliss Tapes” over all others. It was such a great premise. The fact that it ends on a cliffhanger is kind of beautiful, because you get to always think about what could’ve been. Your mind can keep going with it. Had it gone to series, it would’ve probably gone somewhere maybe you wouldn’t have wanted it to. Maybe it’s perfect the way it is.

CS: Yeah, I think it works perfectly as a one-off. As huge a “Kolchak” fan as I am, the way they did decide to serialize it I think it was better off as a one-off as well, because the second movie is literally a carbon copy of the first one, in a different setting.

Reyes: I know. I love the “The Night Strangler.” I love it. I’m going to wear my heart on my sleeve. I like it more. I don’t know if it’s because I really like the characters, but I love it.

CS: That underground city below Seattle is such a great setting. In terms of the series itself, it started to wear a little bit thin. How is Simon Oakland surprised that there’s a mummy? There was just a Bigfoot last week.

Reyes: (laughs) Well, it’s true. I mean, think about “The X-Files.” It kind of got caught up in that same sort of thing. Their standalones were great, but the story arc got so confused. Maybe not everybody feels this way, but when you talk to people about “The X-Files” so many people are always talking about the standalone episodes than the story arc episodes.

CS: Another movie I love is “The Horror at 37,000 Feet.” The cast is so great. It’s just like one heavy hitter after another. Even the smaller parts are these classic stars, and William Shatner just owning the priest who’s lost his faith cliché. The premise is so insane, that there’s a druid ghost in an Abbey in the cargo hold on this intercontinental flight. Just seeing the way those international flights looked in the 70’s and the fact that there’s only eight passengers, which is like a dream of mine.

Reyes: Yeah, I love that movie because it’s bonkers. It’s really fun. It’s exactly what you say it is. It’s got all these great faces that you recognize. Roy Thinnes again, a god among men. It’s one of those movies that I watched as a kid, actually. I don’t want to be spoilery, but at the end, it’s got that really shocking ending. As a little kid I didn’t know how to wrap my brain around what happened. It really messed with my head for a long time and I never got over it. It’s just one of those movies that really stuck with me. But now, when I watch it, I think it’s just really enjoyable. And I think that TNT should get some credit for keeping it in our conscience because they used to show it on “100 Percent Weird.”

CS: I got to talk to William Shatner earlier this year, and he was very cool, but when I brought up that or “The Devil’s Rain,” he was just like, “Oh, you know, I had three kids. I had to keep a roof over their head.”

Reyes: Oh come on! I did find the ratings for “Horror at 37,000 Feet.” It was in the top five. It came in at number five for the 1972/73 season, for the entire season. It had a 26.2/41 rating, which means that 26.2 million homes with televisions were watching the night it aired, which is 41 percent of the television viewing audience, which is very close to half of America.

CS: Wow. So that means half of America was scarred by that movie.

Reyes: Yeah, it’s hard to believe, right? It’s amazing to think about, that so many millions of people were sitting around watching stuff like “Horror at 37,000 Feet,” and that wasn’t even the highest rated horror movie that season, it was “The Victim,” the Elizabeth Montgomery movie.

CS: I’ve seen that one too, it’s great.

Reyes: Yeah, which is fantastic. That one actually came in at number three of that season. So that’s how prevalent it was back then. “The Devil’s Daughter” is number 15. So there’s just a lot, “Night Strangler,” top 20. So it’s just really amazing, the reach that these films had.

CS: And it is something that is completely lost to this generation, the idea that a TV show could have a truly pervasive cultural influence. That a show could come on, and then the next day you could be in school and every kid in your class would have seen the same show, because there were only three networks. The audience is so fractured now. Even something that seems like a cultural phenomenon like “Stranger Things” I’m sure is not viewed by even close to the number that something like “The Victim” or “Horror at 37,000 Feet” was.

Reyes: Yeah, for sure. It’s also another thing that’s really interesting in terms of binge watching. So when you’re talking about “The Night Strangler” and “The Night Stalker,” those were meant to be seen a year apart, right? So when people saw “The Night Strangler,” they might not have remembered “The Night Stalker” well enough to remember how much of a carbon copy it was. Somebody watching the two back-to-back might be disappointed in “The Night Strangler,” But I would say, “We didn’t binge watch back then. That just wasn’t a thing.” So “Charlie’s Angels” was a show that I still love deeply, but I watch three episodes in a row, tops, because they’re basically the same episode. They’re great. I love them, but it’s a very formula, they weren’t made to be binge watched. With the generation now, binge watching’s really in and that’s great, because you can watch “Stranger Things” all in one-go, right? But if you were to sit them down and show them a really good show from the 70’s, like I mean, a really good show like “The Streets of San Francisco,” they would probably be put off by it because it’s meant to air once a week and not back to back. It’s hard to get young people sometimes to understand that.

CS: Yeah, the emphasis now is much more on long arc and serialization and less on formula. Back in the 70’s and even in the 80’s, the emphasis was more on creating characters that you loved to just spend time with.

Reyes: Right, absolutely.

To listen to Amanda Reyes’ podcast, The Made-For-TV Mayhem Show, CLICK HERE!

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Lucy Hale in talks to star in Blumhouse’s Fantasy Island

Following the recent casting of Dave Bautista, The Wrap reports Pretty Little Liars alum Lucy Hale is currently in talks for the role of Melanie in Blumhouse and Sony’s upcoming Fantasy Island, a film adaptation of the classic ABC series. The feature would reunite Hale and director Jeff Wadlow who both have previously worked on the 2018 horror film Truth or Dare.

Hale would be joining Michael Pena (Ant Man and The Wasp), Dave Bautista (Avengers: Infinity War) and Jimmy O. Yang (Crazy Rich Asians). Pena will be the film lead star as Mister Roarke, the island’s mysterious host played by Ricardo Montalban in the original TV show. While Bautista and Yang will be playing guests of the island.

The film is described as being a tonal mix of Westworld meets The Cabin in the Woods, centering on a group of contest winners who arrive at an island hotel to live out their dreams, only to find themselves trapped in nightmare scenarios.

Fantasy Island ran on ABC from 1977-1984 and quickly became a fan-favorite. The island drama dealt with dark themes and the supernatural with a little bit of cheesiness as visitors would come to the island to live out their fantasies. Guests could request any fantasy on the unique resort island in the Pacific Ocean, overseen by the mysterious Mr. Roarke (originally played by Ricardo Montalban) and Hervé Villechaize’s Tattoo, but those fantasies rarely turned out as expected as visitors found themselves facing challenges that tested their character.

Jeff Wadlow will direct the big screen adaptation from a script he is writing with Chris Roach and Jillian Jacobs. Jason Blum is set to produce with Wadlow also serving as executive producer alongside Blumhouse’s Couper Samuelson. Ryan Turek will be overseeing the project for Blumhouse and Matt Milan overseeing for Sony.

Blumhouse’s recent features include The First Purge, Unfriended: Dark Web, and Upgrade. Upcoming projects include the return of Jamie Lee Curtis’ Laurie Strode in the Halloween sequel, M. Night Shyamalan’s Glass starring Bruce Willis, James McAvoy, and Samuel L. Jackson in the third installment of a trilogy that includes previous features Unbreakable and Split, and Spike Lee’s BlacKkKlansman.

(Photo Credit: Getty Images)

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ComingSoon.net has an exclusive video interview with 20th Century Fox’s Bad Times at the El Royale writer and director Drew Goddard (The Martian). Check out the video below to learn more about Goddard’s upcoming thriller, and be sure to catch the movie in theaters this Friday!

Bad Times at the El Royale takes place in the 1960s at a rundown hotel, centering on a cast of characters whose own shady agendas will violently collide: “Seven strangers, each with a secret to bury, meet at Lake Tahoe’s El Royale, a rundown hotel with a dark past. Over the course of one fateful night, everyone will have a last shot at redemption… before everything goes to hell.”

RELATED: New Bad Times at the El Royale TV Spot Welcomes You to the Motel

Alongside Chris Hemsworth (Avengers: Infinity WarThor: Ragnarok), the film stars Jon Hamm (Mad MenTag), Jeff Bridges (The Big LebowskiKingsman: The Golden Circle), Dakota Johnson (Fifty Shades series), Cynthia Erivo (Widows), Nick Offerman (Parks and Recreation) and Cailee Spaeny (Pacific Rim Uprising). The film serves as a reunion between Hemsworth and Goddard, who previously collaborated on the 2012 horror movie The Cabin in the Woods.

The film is set to hit theaters this October 12.

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Every so often, a new actor is brought in to take on the mantle of Doctor Who. For the first time ever, that role is played by a woman. For the show’s 11th season, Jodie Whittaker (Black Mirror) steps out of the Tardis and wields the sonic screwdriver for an all-new set of adventures. Now, showrunner Chris Chibnall explains his new direction, while regenerating Doctor Who into a historic first.

For season 11, Whittaker will be joined by an all-new cast of characters in the series, including Bradley Walsh, Tosin Cole and Mandip Gill. Also joining the series in a returning role is Sharon D Clarke. Chris Chibnall takes over as head writer and executive producer from Steven Moffat for the series, which is set to return in the fall of 2018 with ten brand new episodes.

The series began broadcasting on BBC America in 2005, follows the Doctor, an alien from a race called the Time Lords whose home planet is Gallifrey, and is created by Sydney Newman (The Avengers), and Executive Produced by Russell T. Davies (Torchwood), Julie Gardner (Torchwood), Steven Moffat (Sherlock), Phil Collinson (Coronation Street), Piers Wenger (How I Live Now), Beth Willis, Brian Minchin (Wizards vs. Aliens), Caroline Skinner (Our Girl), and Mal Young (Desperate Scousewives).

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Following the recent addition of Lakeith Stanfield (Sorry to Bother You, Atlanta), Variety reports that Academy Award nominated actor Michael Shannon (The Shape of Water) is in talks to join in Rian Johnson’s murder mystery Knives Out. The Knives Out cast also includes Daniel Craig (Casino Royale) and the recently announced Chris Evans (Avengers: Infinity War).

Shannon is best known for his roles in films such as Revolutionary Road opposite Leonardo DiCarpio and Kate Winslet; and in the psychological drama Nocturnal Animals starring Amy Adams and Jake Gyllenhaal. Both films have earned Shannon two Academy Award nominations for Best Supporting Actor. He will next be seen in BBC’s upcoming miniseries adaptation The Little Drummer Girl.

Johnson wrote the script for Knives Out, which has yet to release any kind of synopsis but is described as a modern-day murder mystery in the classic whodunit style, infused with Johnson’s original voice that informed films from Brick to Looper. Craig committed to star in November after Danny Boyle suddenly left the Bond 25 project, and Johnson wrote the script and will be producing alongside partner Ram Bergman. Johnson has been a huge Agatha Christie fan for years, and for over a decade has been plotting his own murder mystery.

Johnson will make Knives Out before he directs a new trilogy in the Star Wars universe.

Last September, it was announced that Media Rights Capital, the company behind such hits as Baby Driver and the upcoming Peter Jackson-produced Mortal Engines, has successfully landed the rights to the film at the 2018 Toronto Film Festival and is set to finance with a $40 million commitment.

The film is expected to start shooting this November.

(Photo Credit: Getty Images)

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Kate Beckinsale, John Malkovich & More in Talks to Star in El Tonto

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Kate Beckinsale, John Malkovich & More in Talks to Star in El Tonto

Kate Beckinsale, John Malkovich & more in talks to star in El Tonto

According to Deadline, Kate Beckinsale (Underworld), John Malkovich (Eve), Jason Sudeikis (Booksmart), Jillian Bell (SNL) and Emmy winner Edie Falco are in the process of finalizing their deals to join Charlie Day‘s directorial debut El Tonto. Day is also set to be the film’s lead character.

El Tonto follows the story of an idiot mute (Day) who, after getting off a bus in Los Angeles, rises through the ranks to become a beloved Hollywood celebrity, only to lose it all. Beckinsale would be playing the role of a Hollywood starlet with Sudeikis portraying a film director who Day’s character meets.

Armory Films’ Christopher Lemole and Tim Zajaros (Mudbound, Arctic) and Metalwork Pictures’ Andrew Levitas (Farming, The White Crow) will produce alongside Wrigley Pictures’ John Rickard (Rampage, Horrible Bosses) and Page Fifty-Four Pictures’ Alex Saks (The Florida Project, Wildlife). Armory Films and Metalwork Pictures will finance the feature. Endeavor Content will represent the worldwide distribution rights.

Day’s comedic talent in both film and television has garnered him a loyal following among critics and fans. He currently stars in It’s Always Sunny in Philadelphia, one of the longest running and most successful comedies to date, for which he also serves as a writer and executive producer, returning for Season 13 on September 5. Day created the series with his co-producers Rob McElhenney and Glenn Howerton. Day is also a co-creator and executive producer of the new Fox comedy Cool Kids, debuting September 28, 2018, and will co-create a straight-to-series half hour-scripted comedy with Rob McElhenney, ordered by Apple. Other credits include: Pacific Rim; Pacific Rim: Uprising; Horrible Bosses; Going the Distance; Monsters University; The Lego Movie; Vacation; The Hollars and Hotel Artemis.

El Tonto is scheduled to begin shooting this month in Los Angeles.

(Photo credit: Getty Images)

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Mary Elizabeth Winstead Talks Playing Huntress in Birds of Prey

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Mary Elizabeth Winstead Talks Playing Huntress in Birds of Prey

Mary Elizabeth Winstead talks playing Huntress in Birds of Prey

Now that Mary Elizabeth Winstead (Scott Pilgrim Vs. The World, Fargo) has been cast in Huntress in the female-centric Birds of Prey film, the actor opened up to The Wrap about her portrayal of the comic book character.

“I’ll be learning how to shoot a bow and arrow — which is new for me,” she said. “It’s really exciting, and even the process of going through getting the role and everything was a very different experience than I’ve typically been through. Being with the other actresses and a female director and just the whole energy behind this is so unique, so I’m really happy about that.”

“I can’t say that I was a huge comic book reader, but when I met with Cathy Yan, who’s directing the film, and learned kind of the back story of the character, I was really interested. It’s a really strong, kind of emotional place to start from for a superhero character.”

The Birds of Prey project was initially announced ahead of the release of Suicide Squad in summer 2016, with Warner Bros. developing the film with Robbie’s Harley Quinn appearing alongisde a number of female DC characters. In addition to Winstead’s casting, it was announced that Jurnee Smollett-Bell will take on the role of Black Canary for the film. The script was penned by Christina Hodson (Bumblebee), who was recently announced to take over scripting duties on DC’s Batgirl solo movie after Joss Whedon’s departure.

Robbie herself was the springboard for the project, having fallen for the pantheon of DC’s female characters in her extensive research for the role of Harley Quinn. The Birds of Prey project will now apparently take priority as the next film to feature the popular Quinn character, with production expected to begin in early 2019. A Suicide Squad sequel to be directed by Gavin O’Connor is also in active development, but Glenn Ficarra and John Requa’s Harley Quinn Vs The Joker romance movie and David Ayer’s Gotham City Sirens now appear to be on the backburner.

The Birds of Prey are a mostly female superhero team whose ranks in the DC source material has included Oracle/Batgirl, Black Canary, Huntress, Catwoman, Hawkgirl, Power Girl, Poison Ivy, Vixen, and Katana (Karen Fukuhara), who appeared opposite Harley in Suicide Squad. A short-lived live action TV series titled Birds of Prey aired on The WB from 2002-to-2003 for 13 episodes, and starred Ashley Scott as Huntress, Dina Meyer as Barbara Gordon/Oracle, Ian Abercrombie as Alfred Pennyworth and Mia Sara as Harley Quinn.

(Photo Credit: Getty Images)

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Download Nick Castle Talks Returning to Halloween, Hook & More! Torrent

CS Interview: Nick Castle Talks Returning to Halloween, Hook & More!

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CS Interview: Nick Castle Talks Returning to Halloween, Hook & More!

CS Interview: Nick Castle Talks Returning to Halloween, Hook & More!

Lionsgate has just issued a brand-new 4K Blu-ray edition of John Carpenter’s original 1978 landmark slasher film Halloween, and you can purchase your copy by clicking here. In honor of the new release ComingSoon.net had the chance to chat with Nick Castle, the well-known writer/director (Dennis the Menace, The Last Starfighter) who played Michael Myers/The Shape in Carpenter’s film, and will reprise the role in Universal Pictures and Blumhouse Productions‘ upcoming sequel Halloween. Check out the interview below!

RELATED: Halloween Reactions Promise a Return to Form For the Franchise!

In David Gordon Green’s upcoming slasher sequel Halloween, Jamie Lee Curtis returns to her iconic role as Laurie Strode, who comes to her final confrontation with Michael Myers, the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago. Curtis is joined in the film by Judy Greer who plays Karen Strode, the daughter of Curtis’ character, and Andi Matichak (Orange Is the New BlackUnderground) who plays Allyson, the granddaughter of Laurie Strode.

The upcoming sequel film will be ignoring the continuity of all of the sequels in favor of telling its own story. Curtis previously appeared in four films in the series, including the 1978 original, its 1981 sequel, 1998’s Halloween H20: 20 Years Later, and Resurrection.

Master of horror John Carpenter will executive produce and serve as creative consultant on this film, joining forces with cinema’s current leading producer of horror, Jason Blum (Get OutSplitThe PurgeParanormal Activity). Inspired by Carpenter’s classic, filmmakers David Gordon Green and Danny McBride crafted a story that carves a new path from the events in the landmark 1978 film. Green also directs.

The film will hit the theaters on October 19.

RELATED: The New Halloween Trailer is Here!

ComingSoon.net: After all the family movies that you made, was there a part of you that delighted in knowing you were also the most famous movie serial killer of all-time?

Nick Castle: I didn’t find it that way. It’s an interesting way to put it. But no, I didn’t have any of that kind of secret glee or something that I was somehow playing both sides of the line of entertainment here, you know, like comedy and horror. And my horror experiences, you may know, it was pretty much a fluke, so I guess I gravitated toward the light side.

CS: Right. The 1978 movie is coming out on 4K finally. Did you get to re-watch it at all recently, the original?

Castle: No, I haven’t, actually. I’ve promised myself to do that because the more I have these interviews, the more I realize my memory of the movie is from, I don’t know, the last time I saw it, maybe a decade ago or something. But yeah, I think I know the entire thing, but people keep coming up with new memories of certain scenes that I probably should know more about and maybe it’ll jog my memory on some of the questions. But I do know that John and Jamie watched the 4K version and were very impressed with it.

CS: One person that doesn’t get talked about as much in relation to “Halloween” is Debra Hill. From what you remember on the set, what do you think her biggest sort of guiding contribution to the film was?

Castle: Well, she co-wrote, first of all, and she produced it and in the full sense of the word. First of all, she’s a very talented person as a producer in terms of all the different things that a producer needs to do, in terms of putting together a crew and cast, just like John. She was a great partner with John, and then they both had the love of cinema, and also, the idea of having fun on the set. So she was very instrumental in making the movie, as I said, both as a movie and as an experience.

CS: Can you have a specific example of something?

Castle: Well, she was just on board the whole time. Like, she went on and directed a sequence of two of the girls driving in the car, and she was the one in the backseat basically doing that while John was prepping the night shoots on another scene. The individual memories of her kind of swirl into just kind of a sense of her confidence and her good nature. But as far as specific scenes, I know that she played Michael Myers in one scene.

CS: Oh really?

Castle: I think they thought it would be fun if she donned the mask in the overalls. And I’ve been told that, actually, but no one’s actually pointed out which particular scene. I’m going to have to find out and talk to Wallace. He’ll remember. He was the production designer and editor.

CS: That’s fascinating. And of course, you recently got to come back. You got the hero’s call to return to the franchise from David Gordon Green. How did they initially approach you about it?

Castle: Thehe first call I got was from my agent, Sean Clark, who represents me at autograph signings, conventions and things like that. He had been contacted by the company or by the casting people who knew he was repping the main other people that played Michael Myers in these subsequent sequels, and went out to him for his opinion. He just said, “Well, why don’t you use Nick Castle? It’s 40 years later, it’s the same guy.” And they said, “Would he be interested?” And he said, “I have no idea. Let me call him.” So Sean called me and said, “Okay, I just got a very strange request. What would you think of playing Michael Myers in the new movie?” And I went, “Oh whoa, well, I wouldn’t”—no, I just started to think about it. “Well, let me talk to them. Let me see what the deal is.” And that started the conversation with David, and we kind of together figured out what would be the best way to participate.

CS: On IMDb it’s credited that James Jude Courtney also plays the role. How does that work? What aspects do you play? What aspects does he play?

Castle: Well, yes, James Jude Courtney played the role. Let’s just make sure everyone understands that. I am there for a cameo and to kind of hand the torch to James, first of all. He does a remarkable job and I think everyone will love it. And I basically, when Jamie first sees the shape, that’s me. So it was a great honor to go down to South Carolina to be a part of the shoot. I was there for about a week and did some press work, and you know, just helped to promote the thing because they really did—especially because John was involved and I did read the script and David was gracious enough to kind of listen to suggestions. It really honored the first one and just does a very nice job. I think David and his writing partners did a wonderful job.

CS: What’s interesting to me is you and Carpenter met in film school and sort of launched your careers together. The same can be said of David and Danny McBride. Did you see anything of you and John in them?

Castle: Yes, I did. I mean, in the general sense of their age, they’re about the same age as we were. We were a little bit younger. David and Danny and those guys have a lot more of a track record going into this than we did, but you still had the feeling that you were in a family, you know? You’ve got people doing the movie. They did this in a relatively small budget, maybe not as miniscule as ours by comparison, but still, everyone’s running around doing everything. It felt like the same sense of camaraderie.

CS: My favorite movie of Carpenter’s is “The Fog,” which features Tom Atkins playing a character named after you. Do you have any fond memories of that? I assume that’s a fun in joke between you guys?

Castle: It’s pretty much an in joke. I actually named one of the characters in my first movie called “Tag: The Assassination Game” with Linda Hamilton and Bobby Carradine… One of the characters was Carpenter. So we had to play off each other sometimes like that.

CS: And you guys also had a band together, The Coupe De Villes. You and Tommy Lee Wallace and John performed the “Big Trouble in Little China” theme song, correct?

Castle: Yes. Yes, we did. That was fun, man. Not only did we perform it, but we got to do a very early version of a rock video. I know that it was pretty hilarious. Prior to that, we’d always been doing music together, even starting in film school. John and I and Tommy Wallace would do the wrap parties, too. We put together some songs and entertained the crews and the cast. So we had fun. We had fun with that.

CS: They just announced that they’re going to be doing a sequel to “Big Trouble” with Dwayne Johnson. Could you see you guys getting together to do another theme song for that movie?

Castle: Oh my god, yes. I heard a rumor about that, too, but I don’t know much about it. Is John involved with that?

CS: I don’t know if John is involved, but they said that the new film is not a remake and is a continuation of the first one.

Castle: Ah. Oh that’s interesting. Well, we’ll see, you know? We’ll see if our voices are not too scratchy after all these years, see if we can pull together something. I’d love to, of course. I made that decision around the time of “Halloween,” whether I wanted to continue trying to be a singer and rock and roll player or get into movies. So I still love it.

CS: I’d read that you were originally going to direct “Hook,” and that was like your baby for a long time, and then Spielberg kind of took it over. How would your vision of that movie have been different from what Spielberg ultimately did?

Castle: Well, that’s a good question. At one point I was going to direct. I worked on two drafts, basically, with Jim Hart, who came up with the storyline and the idea of the movie. But you know, I think in general, the thing I was surprised about his direction that I would’ve done it in a different direction is he made it very studio-bound and closed. I think maybe he was going for something more like “Wizard of Oz” in terms of the style of the movie. I was thinking of it as very realistic within the context of something like “Raiders of the Lost Ark.”. So it was open and it was in real locations, etc. So that would’ve been one of the major differences. Also, some casting changes, casting things, although when I was still on board we did go out to Robin and Dustin at the time, and that’s when the transition happened.

CS: Wasn’t Kevin Kline originally attached?

Castle: No, he was somebody that was really number one on my list. I thought he would’ve been a great Captain Hook. Yeah, Dustin took it in a totally different direction, and I thought of him as more of a swashbuckler.

CS: Dustin brought more of a Terry Thomas kind of vibe to it.

Castle: Yeah, he did.

CS: “Hook” is coming out on 4K also pretty soon and it’s interesting because I think even Spielberg is a little bit ashamed of it. I think he has some misgivings about it, but I guess it has a big following, especially among kids who kind of grew up with it.

Castle: Oh yeah, a lot of people love that movie. I get that a lot at some of these convention signings. They bring that the poster and what not, even when it’s more for “Halloween” and horror films it’ll still comes up from time to time.

CS: Now of course, you and John famously co-wrote the first “Escape from New York” together. I was wondering, were there ever any other talks between you guys to collaborate on other screenplays?

Castle: No, not really. I went my own way pretty soon after that. “Escape” really helped launch my career as a writer/director, so from there I just kind of took off on my own. I was going in a different direction. I’d love to do another classic with John, though. When you interview him, tell him that I want to work with him.

CS: “Nick Castle says he wants another go.”

Castle: Yes, exactly.

Halloween

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Aquaman Director James Wan Speaks from the Set of the Film!

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Aquaman Director James Wan Speaks from the Set of the Film!

James Wan talks redefining Aquaman with Jason Momoa

Director James Wan’s audience base is composed of both his longtime horror followers and fans of his Fast and Furious film and there’s definitely some cross-fandom with superhero films–all who know that Wan bringing in his sensibilities would make Aquaman one of the most anticipated films of 2018. Warner Bros. and DC made the right choice here and Wan brought those skills to his initial meetings.

“I think it was that, that got me super excited early on when I went in with the DC executives, and I said, ‘Wow, guys. We’ve got such great opportunity here to basically bring horror elements into a superhero world that we’re not quite used to seeing in the mainstream superhero universe. And if I was to come on board, that’s what I would like to do.’ And, they were more than cool about that. Actually, they were very excited. They were like, ‘We love the idea of Aquaman versus sea monsters.’ And I was like, ‘Okay. I’m sold.’”

When asked if even on his current trajectory would he consider returning to horror, he responded: ” I will. That’s a promise. I will get back to it at some point. I mean, even Raimi did right? And I’m like after he did Spider-Man he went back and did Drag Me to Hell. That was so much fun. So, yeah, but I gotta find the right project, because I think when I go back to horror, that’ll be quite a spotlight on it, so I just wanna make sure that it’s something I really dig.”

He’ll never stray too far from horror though.

Even his action sequences still showcase his ability to build tension in his one-shots in very much the same way his climatic horror sequences have in the past. The Black Manta rooftop chase is not an exception. That’s not a coincidence, he said about applying what the Conjuring and Insidious films have taught him.

“I like to tell stories using my one-shot to sort of link some of the elements together. And in that sequence, as you can see, Arthur is dueling it out with Black Manta, while Mera is fighting her own battle with Atlantan commandos. And, I just didn’t want to sort of like, cut this, cut to that, cut to that. I tried to create–in a kind of seemingly smooth way of tying the space together. I do that a lot in my horror films, as well. I like to kind of show the world that you’re in. All it takes is that one shot, and it gives you a perfect sort of geography of the space you’re in, and that helps a lot of times with the action or the scares that you’re trying to build. And I think for the kind of action that I do–even in my Fast and Furious film letting the audience kind of know where they are and doing it with a very, succinct filmmaking method is very important. I’m not just doing this because it looks cool–’cause it’s very hard to pull that off.–I do it because I think it’s an important piece of storytelling in the films that I do.”

The scene he’s referring to is totally filled with those precise thrills that harken back to Raiders of the Lost Ark and even Stephen Sommer’s The Mummy. Moments that are big on adventure and pretty daring as the big bad closes in with terrifying force. Black Manta is that force and we can wait to see more from Yahya Abdul-Mateen II. The look so far nails it and that was a big deal for Wan, “Getting Manta right, for me, was a prime directive for me with designing the whole look of the film. Getting it right was super important for the fans, for myself, and ultimately for the people that are not familiar with him ’cause he’s a pretty strange looking guy. I know that I wanna stay true to what people are familiar with of him in the comic book, but also for the non-fans. They can look at that, and kind of go, ‘Oh, he’s weird, but it’s practical.’  It’s somewhat of a diving suit. Keeping his head big, and his eyes big, was very important to me.”

2018 Comic Book Movies: Aquaman swims into theaters on December 21

And above all else, making a film about Aquaman fulfilling his destiny as King from the renegade we saw in Justice League was paramount. To Wan getting the opportunity to craft the character with Momoa was the biggest step in both making their mark on this iteration of Aquaman for a new generation. He told us, “That was the most important thing going into it. I knew I didn’t necessarily want to make the whole movie with where his character left off in Justice League. I think that might be too heavy to just follow a guy who’s just kind of you know just that heaviness of it. When I first met Jason I was kind of blown away by how funny he was and how charismatic he is in person like ‘Dude, I wanna bring that into the screen. I wanna see more of you, see more of your own personality in the movie and that’s what we did. I went back to my writers and we would do things and shape the script. We wrote it more for Jason. It actually made it easier for us to write because we’d go ‘Momoa would never say the line like this. He’s say it more like that.’ It was great because it made it easier for me to write it and ultimately it just gives the film more personality by bringing his personality out. Now Jason will always say that I took him out of his comfort zone because that’s not what he’s known for. There were few moments when I was directing him that I said, ‘Jason, you’re playing this a bit too angry’ and he’d look at me and say, ‘James this is what they paid me money to do! Khal Drogo! That’s why they paid me’ I’d say ‘Great, that’s good for Khal Drogo. We’re creating a very different character here and there will be very many moments in the movie where you’ll be able to be really tough but in this moment I wanna see you more of that light-hearted goofiness of you that is gonna service the movie well’.”

Aquaman allows Momoa to bring his charismatic presence to the role. Arthur Curry is an amalgam of Momoa’s personality and the mythology of Aquaman that brings us a hero many need to see themselves reflected in. His performance is off-the-cuff natural and magnetic. In the last scene we saw, we got a bit of the chemistry between Momoa and Heard on land. Heard’s Mera definitely is capable and fearless while Arthur attempts to guide her in the ways of the human civilization so she doesn’t get into too much trouble.

“When he’s in Atlantis he’s the Fish out of water but when they go on land Mera is the fish out of water. I think it’s important to share this scene between Arthur and Mera, which is such a big thing in the comic book world,” he said. Their banter is fun and competitive as they quest to find the desert kingdom. Aquaman is in his element unlike when he was in Atlantis and she’s on a learning curve about the world above what she’s used to.

Wan concludes how this ties together what he wants to bring out in this movie, “My pitch from day one was I wanna make my Indiana Jones, my Romancing the Stone and so it has shades of that. It also touches on the other thing that I think is important in a film like Aquaman. You kind of have to touch on the world of the environment and how that is such a big part of the reason why Orm wants to declare war. He’s so sick of the shit we do on the surface world and what we do. How literally all that flows down to them and I think that’ something we can all relate to.”

Aquaman

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