Sitting down with Jeff Goldblum is just as delightful as you would expect it to be. The Jurassic Park and Independence Day star endlessly affable and wonderfully quirky. When I sat down with Goldblum on the set of Independence Day: Resurgence last year, he began by asking my name, and ran through “Six Degrees” connection from my name to him through actors and movies. Sadly, not all of it was recorded, but it’s probably one of the best things that has happened to me.
Anyway, after all that was done, we talked about him reuniting with director Roland Emmerich and producer Dean Devlin. This time his character David Levinson doesn’t accidentally become humanity’s last hope to defeat the aliens as he’s been named the director of Earth Space Defense. And Goldblum says that it’s his character’s inherent and organic love for the planet that drives his outside-of-the-box thinking to help keep it safe.
Plus, since it took 20 years for him to return to Independence Day, what are the odds that the 20th anniversary of The Lost World: Jurassic Park coming up next year will convince him to deal with some dinosaurs again? Find out in the Jeff Goldblum interview below. Read More »
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Posted on Monday, February 8th, 2016 by Fred Topel
The new Syfy series The Magicians premiered in January. Based on the books by Lev Grossman, it tells the story of a group of young magicians at Brakebills University in New York. Our students include Quentin (Jason Ralph), Alice (Olivia Taylor Dudley), Kady (Jade Tailor), Penny (Arjun Gupta), Margo (Summer Bishil), Julia (Stella Maeve) and Eliot (Hale Appleman).
At the NBC networks party for the Television Critics Association, I met The Magicians showrunner (and former Supernatural showrunner) Sera Gamble. She explained some of the rules for magic and spells we might see on future episodes of The Magicians. Find out what we learned after the jump. Read More »
Yesterday the Super Bowl spot for Independence Day: Resurgence teased destruction on what seems to somehow be a larger scale than the first film from 20 years ago. Today begins the first of our series of interviews from the set of the sci-fi sequel, talking about what we can expect 20 years after what has been dubbed the War of 1996, and kicking things off is director Roland Emmerich.
From the moon base of Earth Space Defense, Emmerich talks about the death toll from the first film, which is pretty staggering, what that has inspired in humanity around the world, and what we can expect from the aliens this time around, which includes digital aliens instead of practical effects. Plus, the director gives me permission to take home one of the biggest props from the set, but there’s a catch. Read More »
In 1977, an Israeli rock star and his musically talented wife decided to collaborate, for the first time, and write a musical for the stage: The Apple. But before the show was ever performed, a notoriously eccentric filmmaker persuaded them that their masterpiece should instead debut on the big screen with him as director.
A little over one year later, when The Apple premiered at the Montreal Film Festival, the Israeli couple was noticeably absent, and the eccentric director came within seconds of committing suicide. This is the sad, strange story of how that came to pass.
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By now if you haven’t had the opportunity to watch The Hollywood Reporters roundtables, including the ones involving the actors and the directors, you should take the time to watch them. THR’s latest roundtable is focused on the cinematographers. This year’s group features Robert Richardson (The Hateful Eight), Alwin Kuchler (Steve Jobs), Masanobu Takayanagi (Black Mass, Spotlight), and more.
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After season two of The Leftovers, it feels like season one hasn’t totally gotten its due. Admittedly, the HBO drama got off to a rough start, but midway through chapter one, the adaptation of Tom Perrotta‘s book began to soar. By the time “Guest” aired, directed by Carl Franklin (One False Move), The Leftovers began delving deeper into its world and characters — and season two continued to do the same. The main mystery became less of a burning question and the drama grew richer.
Showrunner and writer Damon Lindelof remains immensely proud of season one, but there were lessons learned that him and his collaborators kept in mind during season two. Below, read our conversation with Lindelof. (Spoilers for Season 2 of The Leftovers ahead.)
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The director of Step Brothers and the producer of Hansel & Gretel: Witch Hunters is now an Oscar nominee. Adam McKay‘s successful adaptation of Michael Lewis‘ novel, The Big Short, is up for Best Director and Best Adapted Screenplay at the Academy Awards. After earning some long-overdue awards love, the director is still out there discussing the project, and you can now hear him talk about the film with Paul Thomas Anderson.
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In 1982, an action comedy called 48 Hrs. took the world by storm. Not only did it finish seventh at the box office that year, but it also launched the film career of Eddie Murphy and spawned a slew of buddy cop imitations. Although a true sequel to 48 Hrs. wouldn’t come until 1990, a follow-up of sorts came out two years later: Streets of Fire.
To understand how Streets of Fire came to be (and its relationship to 48 Hrs.), I sat down with cowriter Larry Gross to discuss the film’s origins—and his as well.
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“I need the truck,” is the first line in the script for Mojave. It comes on page five, and not until page 17 does a real conversation emerge. There are a few lines here and there in the opening, but screenwriter William Monahan introduces Thomas (Garrett Hedlund) purely through action. The artist, struggling with success, drives out to the desert to reflect, which Monahan once did himself.
What if someone like Thomas or Mr. Monahan, but far worse, was also in the desert? That’s when Jack (Oscar Isaac) appears, a highly educated and highly dangerous drifter. Thomas and Jack’s war begins with a conversation about the politics, the human condition, and Ahab’s missing leg.
And we dive into the details of Mojave during our conversation with Monahan, which begins after the jump.
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