Posted on Friday, November 4th, 2011 by Angie Han
As Garrett Hedlund continues his negotiations over the lead role of Kaneda in Warner Bros.’ Akira remake, the studio and director Jaume Collet-Serra are wasting no time filling in the other roles as well. Buried in one report about Hedlund starring in the film was a tidbit about Keira Knightley being approached for the project. Though her possible role has not been revealed, I’m guessing she’s up for the part of Kaneda’s love interest Kei, member of an underground rebel group.
Knightley’s involvement is far from a done deal at this point, as she’s yet to enter talks. Helena Bonham Carter and Gary Oldman, who were also given offers last month, apparently aren’t any farther along in the process either. Still, the fact that they’ve been approached at all suggests the filmmakers are hoping for a certain caliber of talent for the movie. (Not to mention a certain level of British-ness.) Knightley and Bonham Carter have both been nominated for Oscars in the past, and while Oldman has somehow escaped that honor, it’s not for lack of deserving. [The Hollywood Reporter via The Playlist]
After the jump, another potential project for Gary Oldman, while Jane Campion gets Holly Hunter, Elisabeth Moss, Peter Mullan, and David Wenham to sign on for her latest.
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When the season finale of Mad Men was over, there was a minor tinge of déjà vu that I couldn’t immediately pin down. Hours later, it occurred to me that one of the major twists in the finale shared several fun similarities to The Office (Scranton Branch). In fact, up until the epiphany, I had never considered Don Draper to be every bit the serious, hip and fair boss that Michael Scott is delighted to find in the mirror each morning when he combs back his hair. As is /Film’s reader friendly policy, spoilers ahead…
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Since no one on the Internet is discoursing on the season three finale of Mad Men, the show’s creator, Matthew Weiner, has decided to do just that in a new interview. After the jump, we’ll dive into Weiner’s candid explanations for the massive changes that went down last Sunday and how they may or may not bleed into season four. We also intertwine our thoughts on the finale and our opinion of the entire season.
Before we get into that, the trades report that Weiner’s directorial movie debut, You Are Here, has been delayed until 2011. The primary cast for the romantic comedy, which includes Jennifer Aniston, Zach Galifiankis, and Bradley Cooper, is said to still be aboard the project. Though no further details are given on a time frame, Mad Men‘s fourth season is cited as the reason for the production’s delay. Weiner also has a very-active film deal set up at Lionsgate.
But what of Sunday? Make no mistake, Mad Men is a great series, but we did find the finale, while exciting and epic, to underscore a problem observed throughout this season: Weiner’s ambitious decision to explore Don Draper‘s adulterous domestic life and his need to load up on peripheral characters outside of Sterling Cooper has dulled our connection to the actual Mad Men. It’s not that they’re exceedingly selfish bastards—we’re cool with that—but some of them now border on office dressing. Blasphemy you say? “Shut the Door, Have a Seat,” and let us know your opinions in the comments. Spoilers below and my comparison of Mad Men to The Office…
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As the acclaim, status, and ratings coalesce for Mad Men, the series’ ambitious characters continue to encounter myriad divides—cultural, familial, and geographic—that attempt to emotionally pull them apart bit by bit. On Sunday, the AMC original series put two W’s on the board at The Emmys, for Outstanding Drama Series and Outstanding Writing – Drama, in addition to 16 noms. Sunday also marked the airing of the third season’s sixth episode, which in retrospect is wittily entitled, “Guy Walks Into an Advertising Agency.” Previous eps this season were noted for subtle tributes to Stanley Kubrick—in particular a dream-like scene at an empty bar that recalled the The Shining-–and with “Guy” the season finally unleashed a geyser of completely unexpected and genuine horror.
It made for a fantastic if high-wire jolt courtesy of creator/writer Matthew Weiner and Co. In an ep that featured recurring, symbolic imagery of lamps and lights being turned on and off, the showmmakers chose to leave them on near the end, better for viewers to bask in collective shock. The mouths of characters and audiences simultaneously agape, in an instant Sterling Cooper’s offices seemed different but the same; viewers watched on as the company’s shark-like Manhattanites lobbed dark, telling jokes about the incident. So aggressive was the ep’s horrific flourish that I almost interpreted it as an Emmy-primed challenge to any would-be competitors come next year. Let’s take a look at where a few of Mad Men‘s characters stand in the messy aftermath and where they might be headed. Spoilers and a spoiler-tastic GIF to follow…
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Elisabeth Moss, Sean Combs and Rose Byrne have joined the cast ib the Judd Apatow-produced Forgetting Sarah Marshall spin-off Get Him to the Greek. The screenplay, written by director Nicolas Stoller, follows a fresh-out-of-college record company intern named Aaron Greenberg (Jonah Hill) who is assigned the job of transporting an out-of-control rock star named Aldous Snow (Russell Brand, reprising his role from Sarah Marshall) from London to a gig at Los Angeles’ famous Greek Theater.
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