Posted on Friday, March 15th, 2013 by Angie Han
Warner Bros. has taken a bit of time to shift around its release schedule, and there’s both good news and bad news for film fans. On the plus side, the studio has set Andy and Lana Wachowski‘s Jupiter Ascending for a coveted summer 2014 release date, which reads as a vote of confidence in the film.
Not looking so hot, however, is the Sylvester Stallone–Robert De Niro team-up Grudge Match, which has been pushed from a respectable fall 2013 slot to a less auspicious January 2014 one. Hit the jump to read more.
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Universal recently revealed that plans to open Joseph Kosinski‘s Oblivion early in IMAX theaters has been scuttled, but other plans for the movie are going forward at full speed. Anthony Gonzalez of the electronic/dance band M83 has been recording the score for the film with Joseph Trapanese, and the first track from that effort is now online. Check it out below, and you’ll find that the feeling conveyed by the track is just as big and sweeping as you’d hope.
In addition, we’ve got news of the composer Michael Giacchino working again with Andy and Lana Wachowski. This time he’ll be scoring their new film, Jupiter Ascending. Read More »
Briefly: The latest addition to the cast of Andy and Lana Wachowski‘s new film Jupiter Ascending is Sean Bean. He’ll play a Han Solo-like character named Stinger, says Deadline. He’s now part of a cast that also includes Channing Tatum, Mila Kunis, and Eddie Redmayne.
We don’t have a lot of info on the movie at this point, but the description currently making the rounds says it is “set in a time where humans are at the bottom of the evolutionary ladder and follows a woman who has been targeted for assassination by the queen of the universe.”
Bean’s most recent screen appearance was in Silent Hill: Revelation 3D, but he’ll soon be seen in Percy Jackson: Sea of Monsters. Yes, that sequel exists. So… we can now reasonably assume that at least one character will meet a bad end in the film, right? (Hint: It will probably be Bean’s.) [Deadline]
For my money, Eddie Redmayne has been in two of the best movies released in the past two years – My Week With Marilyn and Les Miserables – and yet he’s still a bit of an unknown. That’s slowly beginning to change.
The actor has been up for a few major superhero roles in the past few weeks and now he’s in talks to join Channing Tatum and Mila Kunis in Jupiter Ascending, a 3D IMAX film from The Wachowskis. Read more after the jump. Read More »
With six stories spanning nearly three hours, told by an ensemble cast and three directors, the sheer amount of information presented by and discussions one can have about Cloud Atlas is staggering. Co-writers and directors Tom Tykwer, Andy and Lana Wachowski took David Mitchell‘s novel, which nests six stories within each other, and broke it down into one forward-flowing mosaic. Set in several time periods from the 1800s through the 2300s, the film blends genres and tones to show the human soul moving from century to century, and explore how our actions in one life might affect the next.
And that’s just a very superficial interpretation. There’s much, much more to the movie, which is why it’s one of the year’s best.
As one might expect on a production so massive, there are tons of bits of behind the scenes trivia and on-screen secrets. Were there additional stories meant for the film or novel? Were the directors ever on set together? How did characters get cast? Which actress thought she’d be fired? And what exactly happens at the end of the film? We’ve complied 15 things you probably didn’t know, or notice about Cloud Atlas. After the jump, read all about them. Read More »
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Editor’s Note: This is the fourth and final part of /Film’s interview with Andy Wachowski, Lana Wachowski and Tom Tykwer, the writers and directors of Cloud Atlas. Read part one here, part two here and part three here. The full interview will be published tomorrow, the day the film opens.
All of the major actors in Cloud Atlas play at least four roles. A few play as many as six. Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Ben Whishaw, Doona Bae, Hugh Grant, James D’Arcy and Keith David all have multiple personalities to portray. Some significant, others less so, and they’re not always the same race or sex as the actor in the role.
So in the film, you’ll get to see Halle Berry as an Asian man and a white German woman. Hugo Weaving is a hulking female nurse; Jim Sturgess is a Korean crime fighter; and Ben Whishaw is a loving wife. In doing this, co-writers and directors Andy Wachowski, Lana Wachowski and Tom Tykwer were able to visually display the movement and evolution of the human soul across eternity and also play against segregated acting conventions Hollywood has employed for years. They believe actors should not be pidgeonholed by their race or sex and, after the jump, the three filmmakers discuss not only that, but how the process was liberating for their actors.
After the jump, read the fourth part of my interview with the team behind Cloud Atlas. Read More »
Editor’s Note: This is the third of a four part series breaking down /Film’s interview with Andy Wachowski, Lana Wachowski and Tom Tykwer, the writers and directors of Cloud Atlas. Look for a new part each day leading up to the film’s release October 26. Read part one here and part two here.
When Cloud Atlas opens this Friday, it’s going to be very divisive. Some, like myself, will be transfixed by the way the film takes you on a journey across time, enlightening the audience to the evolution and connections of the human soul via multiple genres, tones and more. Others might find it confusing, overly long and distracting. Directors Andy Wachowski, Lana Wachowski and Tom Tykwer are aware of this and, in the third part of my interview with the co-writers and directors of this incredible film, they discuss those difficulties and how they were an obstacle from the very beginning of the process.
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Editor’s Note: This is the second of a four part series breaking down /Film’s interview with Andy Wachowski, Lana Wachowski and Tom Tykwer, the writers and directors of Cloud Atlas. Look for a new part each day leading up to the film’s release October 26. Read part one here.
With six stories, three directors and actors playing multiple parts across totally different stories, there’s a lot going on in Cloud Atlas. One of the film’s pleasures is how art, and a love of art, is always part of the story. Whether it’s one character reading a book, listening to a piece of music, or watching a movie, art is always at the center of Cloud Atlas helping to sew all of its seemingly random threads together. This is a fact that’s not lost on the film’s directors, all art lovers themselves.
In the second part of our interview with the writers and directors of Cloud Atlas, Andy Wachowski, Lana Wachowski and Tom Tykwer, we discuss this particular reading of the film and how art is truly a way to link us all.
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Editor’s Note: This is the first of a four part series in /Film’s interview with Andy Wachowski, Lana Wachowski and Tom Tykwer, the writers and directors of Cloud Atlas. Look for a new part each day leading up to the film’s release October 26.
Film fans would be hard-pressed to find two more perfect late nineties movies than The Matrix and Run Lola Run. Both were groundbreaking, visually stunning and instantly memorable. Each officially announced its director(s) as a force to be reckoned with. Those directors, of course, are Andy Wachowski, Lana Wachowski and Tom Tykwer. Since then, each director has made several solid films (Heaven and Perfume for Tykwer, Speed Racer and the Matrix sequels for the Wachowskis) but none have quite lived up to the insurmountable heights of those signature films.
That changes with Cloud Atlas, a sweeping, epic film that challenges the way stories are told all together. Based on a novel by David Mitchell, Tykwer and the Wachowskis took six radically different but related stories and rearraged them to be digested as one fluid story. The film jumps from one timeline to another, with each scene informing and enlightening the previous one, even though they’re set in totally different periods and genres. Actors portray upwards of six roles, each giving the viewer a hint of how these beings relate to each other, and how they affect the others – and human history – in radical and exciting ways.
How is a film of that magnitude possible? Here, in the first part of our interview, the directors talk about the difficulties of shooting a three-hour movie with six separate stories simultaneously in different parts of the world and then putting it all together into one cohesive story. Check back later this week for the rest of the interview.
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