#Screen Daily

[destinyc1020]

Fred Astaire Update: 20/December/2023

"King passed on Paddington 3 to take on the film, but jokes he will be back “for 4 through 12”. For now, though, he is “currently unemployed — but there are a few irons in fires”. One of which is an Astaire biopic starring Tom Holland. “We’re working on a script and Tom’s fantastic, but it’s early days."

Source:

https://www.screendaily.com/features/paul-king-talks-casting-timothee-chalamet-in-wonka-hes-slightly-unknowable-like-hes-stepped-in-from-another-world/5188922.article

Thanks Anon! 🥰

It sounds like they're still working on the script then... wow.

I think I recall Tom saying smthg to that effect as well during TCR FYC press.

I wonder how often it is that they hire the actor for the role before the script is even written? I guess it must happen often? 🤔

Is competition in the industry THAT tight that you better jump on to a project before the script is even finalized before other actors are offered the role? Or is it that they want THAT particular actor for the role before they have even written a script? 🤔

If someone who works in the ET/acting business could chime in and clarify, that would be GREAT!

Because a lot of times, I hear actors say that they took on a particular role because the script just called to them, and it was really interesting.... and then others, it seems they're announced for a role, and then it's a long waiting game on actually writing the actual SCRIPT. 👀

[pedropascal24-7]

[richardarmitagefanpage]

According to Screen Daily, The Boy In The Woods will be screened at Toronto International Film Festival 2023.

[brian-in-finance]

Video 📹

Disney, Altitude, Mubi win top prizes at The Big Screen Awards 2022

The Walt Disney Company, Altitude, Paramount Pictures and Mubi were among the winners at The Big Screen Awards, which recognises excellence in UK marketing, distribution, publicity and exhibition.

The Big Screen Awards were rebranded from the Screen Awards, last held in 2019, and were unveiled tonight (November 24) at a ceremony in The Brewery, London, with comedian Phil Wang on hosting duties.

Walt Disney Studios Motion Pictures UK & Ireland won a special distributor of the decade award, recognising 10 years of achievement. The company has released 145 titles in theatres since 2013 totalling £2.21bn at the UK and Ireland box office, making it the decade’s top distributor with a 20.5% share. The award was collected by Lee Jury, senior vice president of studio content marketing and co-head of Walt Disney Studios UK/EMEA.

The distributor of year – independent award went to Altitude, which was praised for its support of cinemas coming out of the pandemic, including the release of Minari into cinemas when venues reopened last year. “[They] gave cinema audiences something to come back for at a time when new product was badly needed,” said one judge.

Paramount Pictures UK picked up the new blockbuster of the year award for Top Gun: Maverick. The award shines a spotlight on the studio campaigns that galvanised audiences to return to cinemas. Top Gun grossed a huge $102m at the UK box office after star Tom Cruise held out for its cinema release during Covid.

Kenneth Branagh’s Belfast, released in the UK by Universal, won the best British film award, voted for in an online poll by readers from a shortlist selected by Screen International’s senior editors. Jamie Dornan and Jude Hill appeared by video link to accept the award.

PHD UK & Warner Bros won theatrical campaign of the year (200 sites and over) for The Batman, with judges praising the villain-centric approach taken as ”ballsy”, “striking” and “brave”.

Mubi won theatrical campaign of the year for a title released into 199 sites or under as well as the international feature film campaign of the year awards for The Worst Person In The World. The film passed £1m at the UK and Ireland box office, in part due to a “cheesy but brilliant” Valentine’s Day marketing campaign.

Documentary campaign went to Dartmouth Films for Eric Ravilious: Drawn To War, with event cinema campaign going to Empire Street Productions and National Theatre Live for NT Live: Prima Facie, which starred Jodie Comer and was seen by more than 300,000 people.

For this year’s rebranded awards, several new prizes were introduced, including breakthrough British filmmaker, which went to Boiling Point director Philip Barantini, and breakthrough British actor, awarded to Honor Swinton Byrne, who most recently starred in Joanna Hogg’s The Eternal Daughter and The Souvenir films.

There were three other new categories for 2022. Big screen event of the year went to the 2022 edition of the Glasgow Film Festival, which achieved a record high of 73% audience capacity on its first in-person edition post-Covid.

The green screen award, honouring a company that put sustainable practices first, went to Lewes-based independent cinema Depot. The diversity and inclusion initiative prize, recognising inspirational work towards creating a more inclusive industry, was awarded to the BFI London Film Festival’s critics mentorship programme.

Other returning awards included PR campaign of the year, which was won by Premier’s “smart, funky and funny” campaign for Prano Bailey-Bond’s horror Censor.

The cinema of the year prizes went to Ilkley Cinema (for 24 screens and under) and Cineworld Basildon (for 25 screens and over).

Vue Entertainment won cinema marketing campaign of the year for ’Get Lost in Great Stories — Jurassic World Dominion’.

Cineworld’s Olivia Ter-Berg won the industry rising star category; Picturehouse Entertainment & Intermission Film took home the ever-competitive poster of the year prize for The Reason I Jump; Ali & Ava won trailer of the year for Altitude and Intermission Film; and Into Film & Universal Pictures UK won brand partnership of the year for their No Time To Die schools marketing partnership.

Finally, the Cinema First achievement award went to cinema programmer Roy Gower, who worked at ABC Cinemas (which became Cineworld in 2006) from 1975 to 2014, before joining Everyman Cinemas, where he worked as director of film until his retirement in 2021.

The full list of nominations is here.

Sponsors for the evening included: Eikon, MediCinema and Powster. The event was in association with Cinema First and the UK Cinema Association.

The full list of winners: Screen Daily

Twitter

SOURCE: SCREEN INTERNATIONAL JUDE HILL, JAMIE DORNAN

Remember… Brian will post Jamie’s and wee Jude’s thank-you video if/when it’s available. 🍿

[cantquitu]

I think VF’s review is pretty generous about Harry at the end. Honest, but not hurtful.

Yep, same with Screen Daily. I haven't seen the movie, so I don't know if I'll agree with them or not, but they sound reasonable to me. Obviously many people found Harry's performance affecting despite the lack of experience that both these reviewers pointed out, but I've no problem with them doing so 🤷‍♀️

[colbrot]

2015-2024

[kirbydaily]

14- 3ds

took the opportunity to mess with flipnote 3d

[endreal]

I think smartphones-as-computing-platform have peaked (and maybe already jumped the shark?) for any practical purposes. There are only 3 things smartphones need from here on out: better battery life, more storage/user expandable storage, and better ergonomics

[quil12]

I just read through the Link Click manhua and how tf did they make them seem even more like a couple in this than in the show - frankly, it's impressive

Like Lu Guang was on top of that. He doesn't even really cook, but as soon as he got the inkling that there was food, he was like 'on it, boss🫡' and made them without being asked. Truly husband vibes right there

Then this... man did not have to stand like that to ask him this. He moved purposefully behind him so he could put his hands on either side of his head and look at him like that. I showed this to my friend and she said all it was missing was a forehead kiss - and I'm inclined to agree - the secret panel not shown lmao

Then, of course, the thing of Lu Guang being concerned over him having nightmares. Like he's just worried about him - idk what else to say

And then this scene where Cheng Xiaoshi is literally acting like a jealous boyfriend. He's like 'what do you mean new friend? We spend all day together'

Then this scene is absolutely insane... like I have been thinking about this since I read it. Out of context it is so wild. Like, first of all, Cheng Xiaoshi being concerned about him and bringing him food (sharing the dumplings that Lu Guang made for him too), but then, Lu Guang goes, 'I have to tell you something', grabs his wrist, pulls him into the room, and shuts the door. The door shutting is honestly the big thing - like Lu Guang, my guy, you are alone in the studio with him. Presumably it's closed too if you're both upstairs, and even if someone did come in, you have an automatic doorbell that goes off so you'd be able to tell. In context, I don't even think it's that secretive of information... It genuinely feels like a setup for a love confession

[accessibleaesthetics]

I'm sure I'm not the first person to talk about this, but I really want to give a big shout out to the @re-dracula team for making the Re: Dracula experience so accessible. And I'm not just talking about offering the whole thing for free, though that's still defintely an aspect of it.

For one thing, every podcast has a full and proper transcript. By "full and proper," I mean it not only covers the actual text being read, but who says what, what parts are said by which people, and crucially, describes all of the extra sound effects and musical cues they put in. Some transcripts are just a text dump, but this is a properly formatted script with all the bells and whistles.

Another thing is that each episode is prefaced by content warnings, where applicable. That is not something you can get from the original text, nor even Matt Kirkland's extra notes that come with each entry from previous years. Someone (or in all likelihood, multiple people) had to review the full manuscript for each podcast and figure out which themes required warnings. They then had to figure out how to make them specific enough to be useful but vague enough not to just be a flat out spoiler. That took extra effort and care, but it's going to make the whole thing so much more accessible to those who need them.

[dailyfalsesymmetry]

day 52

welcome to our second guest on this blog, my friend @terracottakore!!

[one-bunny-a-day]

20/11/2023

[rosepompadour]

The most in love woman in all Hollywood—Carole Lombard. Watch pictures of Clark and Carole together. Carole either clings lovingly to her husband’s arm or gazes adoringly into his eyes. She openly tell the world with her eyes, “I love this man. He is mine.” For the most in love [girl] we dare you to find any that surpasses Carole Lombard with her Clark. - Movie Mirror, May 1941

[shimmeringweeds]

This sequence was so beautiful. The twins have yet again torn a hole in my heart.

The knowledge that Li Tianxi's muteness is psychological, to start. There are four known causes of muteness. Three out of four involve brain damage, and with an abusive father, I could not discount that possibility. It is stated that Li Tianxi's mental growth is underdeveloped, but brain damage is not the reason she can't speak verbally--

The reveal tore at me, because it hits a little close to home.

It's a cliche, but it's also the truth. Kids deeply internalize the problems of their loved ones. They really blame themselves, however irrational it might be to the adult mind. If a problem could be solved-- if everyone would be happy if they simply shut up? Done deal. Not all people find power in their voices. Some only find pain.

Li Tianxi signs words she has been taught. Words she has been given permission to use. Words she knows will make other's happy. Words that won't hurt.

Li Tianchen's trauma runs deep too, but he internalizes it differently. He hears all the rumors spread about his family. He notices the lack of rumor surrounding Li Fan's abuse.

So when he picks up a call from a hospital for the mentally ill?

He's too young to understand. Liu Lan (I apologize for doubting you) does seem to realize that trauma is the root of her families' problem; she's seeking positive help for all of them. But Li Tianchen only knows rumors born of mean spirits. I'm willing to bet he's heard some nasty things regarding Li Tianxi and now the repulsion runs deep. Those mean things aren't his sister. He doesn't hold back. He fights.

He's doing the right thing. Li Fan is the bad guy. Everything will be okay once he's gone. He's doing the right thing. "We got rid of that jerk forever, right?"

So then why--

WHY...?

Why did it all go so wrong?

This isn't what he wanted.

-------------Why did things get even worse when I tried.--------------

Tianxi runs away impulsively from a horrifying situation, but all of her actions during this season have been aimed at keeping her brother. Like she want's him to follow her, away, towards something - anything-better.

Reaching out to a future, but tied down by the past in all directions.

They can't escape.

Its OK. I'm here.

Li Tianchen is her tie to the past. And she is his. In order to reach the future, they had to say goodbye.

Honesty, my mind cannot understand why Li Tianchen listens to Li Tianxi's demand that he run. A scared child, running away from regrets? Running away from a tragedy he knows he had a hand in causing? Or does he understand something deeper?

Li Tianxi is determined that this must happen.

And, so, this time he is the one who runs.

Li Tianxi may have found her way home, to a future. But Li Tianchen is still lost, running deeper, deeper, deeper into the forest......

And the light he finds, is yet another false hope.

"To turn all uncertainties, into certainties."

Is such a thing really possible?

[nightly-nightcat]

day 27 - the night