Beauty School : October 2020

Inside Sean Connery's tumultuous love life

Late legendary actor Sean Connery had long been known as a Hollywood sex symbol, having led a life dotted with intense love affairs with beautiful women — much like his most iconic acting role as James Bond.The Scottish movie star,...

from nzherald.co.nz - Entertainment

Borat's wet firecracker of an October surprise won't hurt Trump but succeeds as feminist satire

It's January 20th, 2021. Inauguration day. A triumphant Joe Biden salutes the National Mall crowd (way bigger than the last guy's) and dedicates his victory to Sacha Baron Cohen, aka Borat, the satirical mastermind who delivered the...

from nzherald.co.nz - Entertainment

Khloe Kardashian sparks outrage for defending Kim's $1.5m birthday on The Ellen DeGeneres Show

Khloe Kardashian's attempt at damage control following the family's latest controversy has sensationally backfired.The youngest Kardashian sister appeared on The Ellen DeGeneres Show this week after the family attracted criticism...

from nzherald.co.nz - Entertainment

Ashlee Simpson has given birth to her third child

Ashlee Simpson has given birth to a baby boy.The 36-year-old singer has welcomed her second child with her husband Evan Ross, who is a baby boy they've chosen to name Ziggy Blu Ross.

from nzherald.co.nz - Entertainment

Bonding over 007: Why every grown-up boy wanted to be Sean Connery

OPINION Tributes are pouring in after legendary actor Sir Sean Connery's death was announced this morning. Owen Vaughan looks back at what the quintessential James Bond meant to him. It's a pub-favourite question asked by grown-up...

from nzherald.co.nz - Entertainment

James Bond Star Sean Connery Dead at Age 90

It is with great sadness that ComingSoon.net must report that Sean Connery has passed away at the age of 90. According to the BBC.com, the actor, best remembered for his portrayal of James Bond, died peacefully in his sleep in the Bahamas after being, in the words of his son, Jason, “unwell for some time.”

Jason said his father “had many of his family who could be in the Bahamas around him” when he died overnight in Nassau. “We are all working at understanding this huge event as it only happened so recently, even though my dad has been unwell for some time.

“A sad day for all who knew and loved my dad and a sad loss for all people around the world who enjoyed the wonderful gift he had as an actor.”

Per Connery’s publicist, Nancy Seltzer: “There will be a private ceremony followed by a memorial yet to be planned once the virus has ended.”

Sean Connery has 94 acting credits to his name in a career dating back to the early 50s. His big break arrived with Dr. No in 1962 in which the actor stepped into the shoes of James Bond, a role he would play seven times in the films From Russia with Love (1963), Goldfinger (1964), Thunderball (1965), You Only Live Twice (1967), Diamonds are Forever (1971) and Never Say Never Again (1983).

Connery also starred in blockbuster films such as A Bridge Too Far (1977), Highlander (1986), Indiana Jones and the Last Crusade (1989), The Hunt for Red October (1990), First Knight (1995) and The Rock (1996).

In 1987, he won an Academy Award for his portrayal of Jim Malone in Brian De Palma’s The Untouchables.

His final on-screen appearance came with 2003’s The League of Extraordinary Gentlemen. He was expected to reprise his role as Professor Henry Jones in the fourth Indiana Jones film but couldn’t shake retirement, stating in 2007: “Retirement is just too damned much fun.”

See Sean Connery’s life and career in photos https://t.co/5tsLqNDZ92 pic.twitter.com/iflzbann44

— Variety (@Variety) October 31, 2020

The post James Bond Star Sean Connery Dead at Age 90 appeared first on ComingSoon.net.

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CNN's savage public response to Kirstie Alley diss

US news outlet CNN publicly savaged actress Kirstie Alley after she accused them of fearmongering over coronavirus.The Look Who's Talking actress, 69, is one of the few outspoken Donald Trump supporters in Hollywood and has made...

from nzherald.co.nz - Entertainment

Actor Sir Sean Connery dead at 90 - tributes flow for the original James Bond

Legendary Scottish actor Sir Sean Connery, who first brought James Bond to the screen, has died at the age of 90.His family announced that he had died overnight in his sleep in the Bahamas, after being unwell for some time.The...

from nzherald.co.nz - Entertainment

Spy: No whining from Paul Henry as he toasts his new drop

It's a big week for Paul Henry with the launch of his new wine and new book.New Zealand's most colourful broadcaster is rolling out his third pinot noir with Invivo, the wine company famous for its collaborations with Graham Norton...

from nzherald.co.nz - Entertainment

Spy: Reality stars' love advice for newbies

As the last of the bachelors sign up to join season 2 of TVNZ 2's Bachelorette New Zealand - featuring an unknown Bachelorette for filming this summer, we are told - Spy casts an eye over couples who are still together from their...

from nzherald.co.nz - Entertainment

Spy: Auckland's trifecta of glamorous new openings

It's a trifecta of glamorous new openings this month and Aucklanders are in for a treat with music, roof-top views and re-imagined food on offer.On Friday night, SkyCity's Flare opened to a mass of A-Listers and VIPs. The expansive...

from nzherald.co.nz - Entertainment

Sacha Baron Cohen donates $193K to church of woman who unknowingly appeared in Borat

Actor Sacha Baron Cohen, who stars in Borat Subsequent Moviefilm, donated $193,000 to the church of a woman who believed she was taking part in a documentary but instead was being featured in the mockumentary comedy film.Jeanise...

from nzherald.co.nz - Entertainment

Black Hands TV drama on the Bain murders branded 'ghoulish' by David Bain supporter and friend

David Bain won't be watching the Black Hands teledrama series tomorrow, according to his closest ally who has branded the show "ghoulish" and "pointless".Black Hands, based on a podcast of the same name, will depict the years leading...

from nzherald.co.nz - Entertainment

LeAnn Rimes shares powerful nude photos to reveal psoriasis battle

Singer LeAnn Rimes has shared "unabashedly honest" nude photos on social media, revealing in unflinching detail her experience with the skin condition psoriasis."I want to give a voice to what so many other people are going through....

from nzherald.co.nz - Entertainment

Justin Bieber reveals his struggle with mental health

Justin Bieber has struggled with suicidal thoughts.The singer has admitted there have been times where he struggled with his mental health as he had so much "consistent" pain. It got so bad that he feared it would never go away...

from nzherald.co.nz - Entertainment

CS Score: Bride of Frankenstein and El Camino’s Dave Porter & Thomas Golubić

Hey there, soundtrack lovers! We’ve got another great batch of film score features for you to check out. First, we preview a track from the upcoming soundtrack to The Umbrella Academy 2, followed by a look at Waxwork Records’ fantastic new The Bride of Frankenstein vinyl soundtrack, an interview with renowned composer/producer Reinhold Heil and, finally, an interview with composer Dave Porter and series music supervisor Thomas Golubić who discuss everything from their work on Breaking Bad and Better Call Saul to the upcoming vinyl release for El Camino: A Breaking Bad Movie.

Read!

LISTEN TO A TRACK FROM THE UMBRELLA ACADEMY 2 BY JEFF RUSSO & PERRINE VIRGILE

Check out a track from the upcoming soundtrack, The Umbrella Academy 2 titled “The Swedes.” Composed by Emmy Award-winning composer Jeff Russo and Perrine Virgile, the track is a jaunty opener to the strikingly orchestrated album. Lakeshore Records will release the album digitally on November 6. The series starring Ellen Page, Robert Sheen, Tom Hopper, Emmy Raver-Lampman, Robert Sheehan, David Castañeda, Aidan Gallagher and Justin H Min is currently streaming on Netflix.

Pre-order The Umbrella Academy 2 soundtrack here!

You can also pre-order the album here!

THE BRIDE OF FRANKENSTEIN: ORIGINAL MOTION PICTURE VINYL SOUNDTRACK

Looking for a way to spook up your Halloween season? Then check out Waxwork Records’ all-new The Bride of Frankenstein: Original Motion Picture Vinyl Soundtrack, which presents Franz Waxman’s classic score to the 1935 horror masterpiece in an all-new “deluxe album featuring re-mastered audio, new artwork and likeness approvals from famed actress Elsa Lanchester’s estate.”

Here’s what you get with this terrific new release:

The Premiere Vinyl Release of the Soundtrack
180 Gram Black and White Swirled Colored Vinyl
Old Style Tip-On Gatefold Jackets with Satin Coating
Artwork by Phantom City Creative
12”x12” Booklet
Scoring Session Photography
Liner Notes

Purchase The Bride of Frankenstein here!

The Bride of Frankenstein is oft regarded as one of the finest sequels ever made. And while the film is certainly dated — the result of being released over 85 years ago — it still packs quite the punch and is, in some ways, more faithful to Mary Shelley’s Frankenstein novel than the original Frankenstein film, what with its exploration of God and man and its lifting of several scenes and ideas from the text. Where 1931’s Frankenstein focused more on the basic horror elements inherit in a monster film, the sequel, released four years later to thunderous reviews and box office sales, keenly steps back and presents a sad tale of the Monster’s desire for acceptance. As directed by James Whale, Bride of Frankenstein is episodic in nature as it tracks the Monster’s dealings with local villagers, including a blind man (a scene later parodied in Mel Brooks’ Young Frankenstein); and his subsequent desire for a mate. It all comes to a head in the explosive climax where Dr. Frankenstein, forced into submission by Doctor Septimus Pretorius, creates the titular Bride, who awakens and hisses her way to movie history.

Your love for The Bride of Frankenstein will depend on your tolerance for the classic melodramatic Hollywood style; and your appreciation for old-school cinema. Keep in mind, this film floored audiences upon its initial release; and was popular enough to spawn six additional films — Son of Frankenstein (released in 1939 and the last to feature Boris Karloff in the Monster role), The Ghost of Frankenstein (1942), Frankenstein Meets the Wolf Man (1943), House of Frankenstein (1944), House of Dracula (1945) and Abbott and Costello Meet Frankenstein (1948).

Similarly, your love for Waxman’s score will depend on whether you appreciate the more overwrought compositions found in Hollywood’s “black and white” era. (In other words: Hans Zimmer this ain’t.) That said, Waxman’s work here is absolutely superb, especially considering the small 22-member orchestra he was given; a feat that forced him to use an organ to enhance the sound. Yet, the music feels massive in scale despite the limitations; and caters to the obvious horror elements — as heard in the brilliant track, “The Creation,” featuring a recurrent drum beat played against powerful gothic orchestrations — as well as the film’s lighter, more comedic beats. All told, there are eight themes spread across the relatively short 34-minutes of score, with the Bride’s dreamy melody topping out as the best of the bunch, but each gets a chance to shine before merging together in the fantastic climax, “Presenting the Bride – The Explosion” and “The Creation” tracks that close the album.

Ultimately, this classic score is (surprise, surprise) solely for classic score lovers, though even contemporary soundtrack enthusiasts will likely appreciate the unique techniques at work, which served as a template for contemporary horror fare. If anything, The Bride of Frankenstein offers a unique look at early Hollywood and the extraordinary artists who created the foundations for a modern empire.

REINHOLD HEIL DISCUSSES HIS SCORE FOR DEUTSCHLAND 89

Reinhold Heil’s score for Deutschland 89 released earlier this month, and we reached out to the composer to get his thoughts on the sequel series, which follows an agent of East Germany following the Fall of the Berlin Wall in 1989.

Intriguingly, Neil was present for the historic event, recalling, “In October 1989, our studio was only a few miles away from the Wall in West Berlin, and one of us always hung out in the TV room watching East-German TV, which was still mostly broadcasting Communist Propaganda but you could see and feel the façade coming down slowly. Whenever something awesome was on, the watcher started yelling and we all gathered around the TV to witness the small acts of resistance undermining the system.”

Obviously, that momentous event shaped his approach to the score.

“Deutschland 89 concludes this dramatic, fictitious but historically accurate trilogy,” Hein said. “Our main characters have to re-invent themselves and figure out how they make their way in the newly emerging political and economic landscape. So I had to re-invent their musical themes and create new ones and I had – as always – a wonderful time doing so. Nothing is more satisfying than working on a project you love with a team that supports you and teaches you new things every step of the way.”

Heil then explained how the new score builds on themes from the previous two seasons, albeit with a fresh prospective. “The main theme is much more aggressive and features Luanne Homzy and Evgeny Tonkha of the California String Quartet. There is also plenty of new material that I enjoyed working on very much because Showrunner Jörg Winger let me go a bit more experimental on the sequences with the RAF Terrorists. I’m very happy how the grand story arc unfolded and how the music evolved with it.”

A renown musician and music producer of that time, Heil got his start in the 70’s with the Nina Hagen Band, and later Spliff – one of the most popular German rock bands of the 1980s, and would go on to collaborate with the likes of Nena, Kim Wilde, and Rio Reiser. Heil became a film composer in the mid-90’s and worked with Johnny Klimek and Tom Tykwer on films such as Run, Lola, Run, Perfume, The International, and Cloud Atlas before leaving the team to pursue his own career, mostly composing for TV shows like Helix, Berlin Station, and the Deutschland series.

Between his experiences living in West Germany in 1989, and his storied past as a musician, producer, and then film composer, Reinhold Heil levies a deeply personal touch to his score for Deutschland 89.

EL CAMINO: INTERVIEW WITH COMPOSER DAVE PORTER AND MUSIC SUPERVISOR THOMAS GOLUBIĆ

It’s already been a year since Netflix released El Camino: A Breaking Bad Movie to critical acclaim; and it’s taken that long to secure a soundtrack release for the film. No matter, the new El Camino: A Breaking Bad Movie – Original Soundtrack Vinyl 2XLP is well worth the wait. Featuring every bit of music heard in the film — in the exact order heard in the film, no less — this new soundtrack is a must-have for fans of the Breaking Bad universe. If you needed further coaxing, composer Dave Porter and music supervisor Thomas Golubić sat down to discuss their work on this new release with ComingSoon.net, which you can read below.

El Camino: A Breaking Bad Movie – Original Soundtrack Vinyl 2XLP features nearly every needle drop from the film, including songs by Lynyrd Skynyrd, England Dan & John Ford Coley, Jim White (Feat. Aimee Mann), Red Snapper, and more, plus exclusive liner notes by composer Dave Porter and music supervisor Thomas Golubić.

Purchase El Camino: A Breaking Bad Movie – Original Soundtrack Vinyl 2XLP here!

ComingSoon.net: Let’s talk about this new 2-LP album for El Camino, which features every bit of music from the Netflix film. How did this release come about?

Thomas Golubić: I think it’s one of those things where the Vince Gilligan universe — what is so wonderful of being part of it and being part of this one in particular — is everything is done to exacting detail. And everything is done with an investment of creativity. So like every department really puts themselves into the experience and it all channels through Vince. And this movie is a good example of that. So I think the soundtrack came together slowly, perhaps, because a lot of times you try to time soundtracks with the release of the film, but I think that we always feel that the legacy of the work is the most important thing. We had really wonderful and patient partners in Mondo. They were just absolutely wonderful to work with. And we got a chance to kind of get really beautiful artwork and really unique artwork from like another member of our creative family. So it’s like, everybody got a chance to kind of add their paintbrush, and everybody did something, I think, really beautiful. So that’s what I like about it taking a little bit longer than you’d expect. But it’s been a really, really enjoyable experience.

Dave Porter: Yeah, Thomas got it, right. If there’s anything we have learned from working with Vince Gilligan, and all the other producers of all these things is that it’s much better to do it right, than to do it fast. And so that enabled us to really take our time with this. And I think that, particularly for fans of the Breaking Bad universe, they’re gonna love this thing, because it has so much quality inherent in all the thought process that was put into it.

CS: How do you guys decide which songs to include in the film and subsequently the soundtrack?

Dave: That’s one of the things Thomas does best.

Thomas: I would love to say that it’s really easy and the first idea is the last idea, but it’s never the case. Although I have to say one of the things I love about the experience of listening to the record — I listened to it again in preparation for the interviews that we’re doing this week — is that it is in the order of the film. And so I think what I liked so much about it is that it’s a little bit like if you’re going into a clockmakers video studio, and each room has another set of clocks that are all representing of a different, you know, part of their creative process, you get to really enjoy it. And I got to walk through the movie again and everybody’s there. In a weird way, like no, the most obvious answer is we took the sequence of the music in the film and replicated it on the album. And the number of not very good ideas that I worked on before getting to that very simple solution was insane. So I kind of work circles to try to figure out the right balance songs and score and the right energy and what do we include and not include and we just did the math on it and realized, wow, these four sides time out. In other words, with the technical limitations of a record, you have enough space to have a good quality sound recording on each side, they fall really comfortably in sections. And it was like the universe was saying this is ABCD, this is a two album set. And it’s literally all the music from the film so you have the experience as you’re going through it. I feel like it landed exactly where it needed to, though we probably made it more complicated than it needed to be as well. But, in the end, it ended up being really cool.

Dave: I love that about it too. One of the things that we always talk about — not only for score but for source also — is the musical journey that we’re following along with the film and how that’s helping to tell the story of the characters and the plot as the film moves along. I approached it that way when I wrote the music, I started at the very beginning and worked through it sequentially, which I don’t always do. But it made all the sense in the world for this movie because it is such a linear journey. Unlike Breaking Bad or Better Call Saul, the TV shows where we’re hopping around from character to character, sometimes in different storylines that are interwoven into each other, [El Camino] really is a coda of Jesse’s story, specifically; and follows him and in a pretty linear fashion from start to finish. And I love that the records follow that path without any picture.

CS: Speaking specifically of the score, what was it like to go back to Breaking Bad after all those years?

Dave: It was easier than I thought it might be. And I’ll tell you, if we had done El Camino a few years ago, in the earlier years of Better Call Saul, it would have been a much bigger juxtaposition. But what we have found, as we have been working on Better Call Saul, which is, of course, a prequel to Breaking Bad, as we get closer and closer to the end of Better Call Saul’s story, musically I’m getting closer and closer to the original Breaking Bad story. That’s just how the timeline works. And we’ve been introducing more and more Breaking Bad characters into Better Call Saul; and there’s just been that cohesion building up towards where we want them to begin Breaking Bad. So when I’ve already had Breaking Bad in my psyche, as we work that way. But then, of course, it is really a shift for El Camino to be at the end of Breaking Bad, which in itself is a bit of a shift musically over the course of that series. And so there was a little jump and a little trying to figure out where to go. One of the things that I really worked hard to do is to, at the very beginning of the film, El Camino, I tried to take over very sonically as closely as I could from when we left off in Breaking Bad. But then, after talking to Vince, we really wanted a little leeway to tell a new story. And really focus on a character I didn’t get to spend a whole lot of time with musically over the course of the series, originally. There always needed to be a connection to the Breaking Bad world and the connection to the Breaking Bad timeline, but — and keeping all of that in mind — we did want to expand the boundaries a little bit and tried to explore some new territory for El Camino.

CS: What’s it like working with Vince Gilligan? Does he let you do your thing, musically, or does he have very specific ideas he presents to you?

Thomas: It depends, really, on each project, which is kind of the interesting part. I mean, Vince Gilligan is my favorite creative collaborator. Of all the people that I’ve worked with over the years, I feel more in awe of what I learned — and how the joy of contributing to fulfilling his vision and the vision of the team, it’s my favorite thing. So, going in already, these are people I have enormous respect for, obviously. I have enormous affection for them personally, and the generosity that they show me and just getting a chance to contribute. And then also celebrating that process, even when I get it wrong, is really the best thing because I think that the ability to fail with your friends is like the greatest luxury I can think of when you’re trying to be creative. And I think that is something that is really exciting as part of that process — I get a chance to really test myself and know that if I fall flat on my face, I have a group that know that I tried and it was an interesting idea. And now, let’s move on and try another one.

Dave: That’s totally true in every sense. And, of course, the beauty of having the working relationship with Vince and the other producers now for as long as Thomas and I have had, we have that shorthand; and we have the advantage of skipping past bad ideas pretty quick when we can all be on the same page to realize they aren’t working. For me personally, you know, the experience of El Camino was quite different than working on either of the series because we had the luxury of time, which you often have for score on a film in a way that you just don’t on TV. In a television series, Thomas and I meet with Vince and the writers and editors for every episode to talk about what our musical tasks are for that episode. But then I’m on my own from there, working alone in my studio, and I’m sending them finished products, which they “yay” or “nay,” or we tweak from there. But in the process of working on the movie, actually, for the first time in however long I’ve worked with Vince — over a decade — he got the comforts to sit here in my studio on the couch while I worked, which was a fascinating new wrinkle for us. We had to tiptoe our way a little bit at first because we had never worked together that way before. In the end, it allowed for a greater level of collaboration on El Camino than we’ve ever been able to do before.

CS: Does the success of Breaking Bad, Better Call Saul and El Camino surprise you?

Thomas: That’s a good question. Ultimately, you’re in the trenches working on something and you hope that the world will recognize it. And sometimes it works and sometimes it doesn’t. I’ll mention some of my favorite projects to people who tell me they have never heard of that. And it’s one of those things you realize people like lots of different things and there’s so much media out there. So to be part of something which has been resonating in a really powerful way with each community that embraces it, and a growing entity that’s part of this whole universe is really wonderful because you also see how invested everybody else gets into it. Matt Talbot, who did the artwork for the album, which is really unique and exciting, he used to create these wonderful posters for episodes of Better Call Saul; and he became a friend of our creative community. And so, having his work here, it’s just such a nice way of enjoying that particular part of that expanding growing family, and the fact that he knows about us because the show thankfully got successful — people started to really notice it and notice what we’re doing. And we kept on doing the best work we always could to make the best, most interesting story we could. We just feel very lucky that people have joined us in all these journeys. We try really hard to make this the best thing we can do. I’m just so proud of all the work. You can feel it when you watch it. It feels absolutely clear about what it is and it’s really beautiful in all of its individual moments.

El Camino: A Breaking Bad Movie

Dave: Thomas and I are happy to be able to work on these projects with Vince. To me, what has always been the most astounding aspect of particularly this Breaking Bad universe, is its consistency. It’s just consistently good. Part of that I believe is Vince’s overarching attention to every detail, but at the same time his willingness to take an idea from absolutely anyone — the newest intern in the room can pipe off and feel comfortable piping up at any time and it’s an idea and he will absolutely consider. And that combined too with the luxury that we’ve all had as a group to have worked this long together and creatively push each other, every year that we get together to do better and better work has led to some remarkable stuff. Thomas and I take a very small amount of credit for all of it and are mostly just feeling very blessed to be part of it.

CS: Are there any additional Breaking Bad spin-off movies in development that you can share with us or shows.spinoffs that you would like to see at some point in the future?

Thomas: (Laughs.) If it existed we couldn’t talk about it anyway!

Dave: I will say that I don’t know any better than anybody else what the future holds or what Vince Gilligan is up to. I’m certainly the last to know. I would, of course, always be delighted to further explore this universe, but at the same time I’m actually kind of excited to see something totally new that Vince and all of us around the group could tackle. I know Vince has an endless amount of stories to tell and I certainly will always be available to him anytime.

Thomas: Same here. (Laughs.)

The post CS Score: Bride of Frankenstein and El Camino’s Dave Porter & Thomas Golubić appeared first on ComingSoon.net.

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'Not a Trump Supporter': Billie Eilish, Britney Spears and other celebrities targeted in new White House documents

The White House has criticised teen singer-songwriter Billie Eilish for saying US President Donald Trump was "destroying" the United States, according to a new report.The Trump administration had been planning to roll out a celebrity-endorsed...

from nzherald.co.nz - Entertainment

Exclusive Dating Amber Clip From Samuel Goldwyn Films’ New Comedy

Exclusive Dating Amber Clip From Samuel Goldwyn Films' New Comedy

Exclusive Dating Amber Clip From Samuel Goldwyn Films’ New Comedy

ComingSoon.net has an exclusive clip from Samuel Goldwyn Films’ upcoming comedy romance drama Dating Amber, written and directed by David Freyne (The Cured). You can check out the clip now in the player below and pre-order the movie here!

In Dating Amber, a closeted gay teen and his lesbian counterpart pretend to be a couple to avoid suspicion.

The movie stars the ensemble cast of Fionn O’Shea (Handsome Devil, Normal People), Lola Petticrew (Wolf, A Bump Along the Way), Sharon Horgan (Military Wives, Game Night), and Barry Ward (White Lines, Extra Ordinary).

Samuel Goldwyn Films will release the film On Demand and on Digital on November 10, 2020.

The post Exclusive Dating Amber Clip From Samuel Goldwyn Films’ New Comedy appeared first on ComingSoon.net.

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CS Interview: Tobin Bell on Retro Horror Pic The Call

CS Interview: Tobin Bell on retro horror pic The Call

Just in time for the film’s digital debut, ComingSoon.net got the opportunity to chat with horror genre legend Tobin Bell (Saw franchise, Belzebuth) to discuss his role in the retro-vibe genre pic The Call in which he stars alongside fellow genre legend Lin Shaye (Insidious franchise)!

ComingSoon.net: So this film is just about as fun as Belzebuth, it’s got a nice retro vibe to it, but what about The Call really drew you to the project?

Tobin Bell: It was the long scene with the kids. You do things for different reasons, sometimes it’s the location, sometimes it’s the actors you’re working with, sometimes it’s the money, sometimes it’s the director, and sometimes it’s the script. In this case, there was this wonderful challenge to make the scene in the house with the kids, which is a very long scene, be organic and seem real and how to make how to play off of each individual kid. You know, these are, these are wonderful challenges and hurdles to overcome. So sometimes I do things because I’m like, “I think I can make this work if I can get the physical logic down and the timing,” right? I can make this seem like it’s his house and his moment. If I’ve done my preparation properly and created the elements properly, this can be fun, snd so that’s why I did The Call, plus I thought the script was good, and I love one of those group of young actors in something, and you’re going to get to deal with them all the time and pick up their vibe. You know, it’s always a great thing. So that’s the answer to your question is I’m gonna overcome this hurdle, plus, I had a car payment [laughs].

CS: So since you mentioned picking up on each kid’s vibe and playing off of them, did you find that you got to do that a lot in rehearsal or did a lot of that come from doing the scenes in front of the cameras?

TB: You know, casting has a great deal to do with that. If people are cast, like you pick up their vibe almost right away, because the casting director picked up that same vibe. In this case, there’s Tonya, and she’s kind of a loose cannon in a certain way, and then there’s Zack, the sort of good looking guy, and then there’s a nerdy guy, and then there’s the role Chester Rushing plays and so mostly, you get it from just their persona, you know, you walk up and shake their hands, and if they’re cast properly, you get exactly why they were cast as that character from the moment you meet. You can minimize risk by perfect casting, and in this case the film was cast really, really well. You know how it is, you meet someone in a restaurant or something in real life and pick up a vibe from from them right away. Well, not only do these kids have that vibe, personally, but they needed to have it to play who they were playing in the film, so that’s a testament to the casting. They were very energetic, very attentive, very dedicated to what they were doing and when you have young actors, they’re always so enthusiastic to be there. You know, they’re starting their career and they’re working with people that they’ve seen in films. So that’s exciting on both sides of the equation, you know, it’s exciting for me, and, and for them.

CS: Speaking of fantastic casting, we finally get to see you paired with Lin, who told me a little joke about how James Wan was like both of godfathers for the horror genre, what was it like finally getting to work with her?

TB: It was great, I mean, I had never met her before and I wasn’t that familiar with her work. But I knew that she had worked with Leigh Whannell and also with James and I also knew how dedicated to the craft she is. So that was encouraging and it’s great to work with, I really liked what she brought to the moments.

Click here to rent or purchase The Call!

CS: There’s a really warm rapport between you two when things aren’t going in the scary direction, what was it like building that rapport between you two?

TB: Well we barely knew each other, and really in the end, the camera sees everything. So if we were at all reticent or nervous, or whatever, on more uncomfortable, awkward, whatever the camera will see that. So fortunately, Lin likes to connect and I felt an immediate willingness and hunger on her part to connect with me and to that the camera sees that too. So that was both welcome and and refreshing and very encouraging, because, you know, I had only met her like 15 minutes before we started acting together. So the human element becomes hugely important and the fact that she’s willing to let her defenses down, and me too, and her guard down, and me too, makes it easier to make that instantaneous connect that was required for the relationship between each of them. The kind of training that Lin has and the way she honors the acting profession, those are the kind of people you want to work with. People who respect to the profession that we’re in and are so dedicated to it and have such have the kind of skills that Dublin has had for so many years, it’s always a treat. Whenever you’re cast in something, the actors that you’re with makes a difference, andso it it was a joy to play her, her husband in The Call and and to be part of that whole project, and I’m really glad it’s, it’s gonna be streaming at the end of the month, I’ve talked to a lot of people that saw it and drive-in theaters and they loved it. They loved being out of the house and sitting in sitting with the big screen in front of them. It’s a lot of fun to see it that way.

CS: After making the rounds at drive-ins earlier this month, the film’s now coming to digital platforms, how do you feel about the release model for it?

TB: You know, I think it’s great. I mean, obviously we’ve been trapped in this bubble since February and where are we now, almost November. Any way that we can, you know, stay safe and not endanger people, but go on with life and with the living of life, particularly when it comes to performing arts. Because performing arts, except for streaming and that sort of thing, I mean, I’m particularly gratified that on October 30, that The Call will be available on multiple platforms that people can enjoy at home, but I’m very concerned about what’s going to happen to Broadway, Off Broadway, what’s going to happen to, you know, the Old Vic in London, and theaters that are a huge cultural resource on the performing artists. If you depend on streaming, I mean, I’m not going to mention companies, musicians are having a horrible time making money on their music, the only way you can make money is is in touring, and now they can’t tour, you can’t be in any performance space. I think we’ve got to figure out a way to overcome that, and obviously I don’t have the answer, because I’m not a scientist. But we’ve got to pay attention to what the scientists tell us about this whole COVID thing, but I’m very concerned, there is nothing more important than the performing arts from a cultural point of view. What we’re doing to children, you know, not being able to go to school, not being able to participate in sports and do the things that make growing up so vital to the development of human beings. We can’t do that anymore. I’m really concerned about all of that. I suppose a lot of people are so I’m not speaking out of turn here, I’m not saying that we shouldn’t be being careful. We should, so I don’t have the answer, I’m just really worried about the performing arts, because of the necessity of keep distance. What we’re told is the necessity, which I believe in.

CS: So, to look away from the film for a moment, next year we hopefully will see the return of the Saw franchise with Spiral, can you tell me your thoughts on the next installment in the series?

TB: It’s kind of hard for me to talk about it, but I can tell you this. If it came out of Chris Rock’s mind, it’s probably gonna be worth seeing. So that’s as much as I’m gonna say [chuckles] I’m gonna say he’s a pretty creative guy and a valued artist.

Four Friends. One Phone Call. 60 Seconds to Stay Alive. In the fall of 1987, a group of small-town friends must survive the night in the home of a sinister couple after a tragic accident occurs in The Call. Needing only to make a single phone call, the request seems horribly ordinary until they realize that this call could change their life…or end it. This simple task quickly spirals into terror as their worst nightmares become reality as they enter the realm of The Call.

This spine-tingling tale stars horror icons Shaye and Bell alongside Chester Rushing (Stranger Things), Erin Sanders (Big Time Rush) and Judd Lormand (SEAL Team).

“Pairing Tobin and Lin, or Saw’s Jigsaw and Insidious’ Elise Rainier as they’re known to horror fans around the world, brings so much terror to the screen,” Emmy-nominated director Timothy Woodward Jr, said in a statement. “Their chemistry is undeniable, and the power of their scenes splinters off, creating this dark, macabre world these characters are forced to survive in.”

Directed by Woodward Jr., The Call was written by Patrick Stibbs and produced by Final Destination creator Jeffrey Reddick, Stibbs, Zebulun Huling, Gina Rugolo and Randy J. Goodwin. Executive Producers include Nicolas Chartier, Jonathan Deckter, Matthew Helderman, Joe Listhaus, Drew Ryce, James Shavick, Kirk Shaw and Luke Taylor. Co Producers include James Cullen Bressack and Chaysen Beacham.

The Call is now available on digital platforms and premium VOD!

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Supergirl’s Odette Annable Joins Jared Padalecki’s Walker for The CW

Supergirl's Odette Annable Joins Jared Padalecki's Walker for The CW

Supergirl’s Odette Annable Joins Jared Padalecki’s Walker for The CW

Odette Annable (Supergirl, Tell Me a Story, Cloverfield) has joined Jared Padalecki in The CW’s new series Walker, according to Entertainment Weekly.

Annable will recur as Geri, a bartender at the local bar called the Side Step. Geri is described as “an ol friend of Walker and his late wife Emily (Genevieve Padalecki), who hasn’t seen Walker since Emily’s funeral. It’s clear that she and Walker have a history — a friendship and a shared tragedy.”

Walker, a reimagining of the long-running series Walker, Texas Ranger, stars Jared Padalecki (Supernatural) as Cordell Walker, a widower and father of two with his own moral code, who returns home to Austin after being undercover for two years, only to discover there’s harder work to be done at home.

He’ll attempt to reconnect with his creative and thoughtful son (Kale Culley, Me, Myself and I) and his headstrong, somewhat rebellious teenaged daughter (Violet Brinson, Sharp Objects) and navigate clashes with his family – an ADA brother (Keegan Allen, Pretty Little Liars) who stepped in during Walker’s absence, his perceptive mother (Molly Hagen, Herman’s Head) and his traditional rancher father (Mitch Pileggi, The X-Files). Walker’s former colleague is now his Ranger Captain, (Coby Bell, The Game). Walker finds unexpected common ground with his new partner (one of the first women in Texas Rangers’ history) played by Lindsey Morgan, The 100), while growing increasingly suspicious about the circumstances surrounding his wife’s death.

The show also stars Jeff Pierre (War Dogs) as Trey Barnett. Walker is written and executive produced by Anna Fricke (Being Human, Valor), and executive produced by Dan Lin and Lindsay Liberatore, and Jared Padalecki. Walker is from CBS Television Studios in association with Rideback.

Walker will premiere on Thursday, January 21, 2021, on The CW.

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Jordan Peele Teaming With Universal for People Under the Stairs Remake

Jordan Peele teaming with Universal for People Under the Stairs remake

After partnering with the studio for two acclaimed socially-driven horror films, Jordan Peele (Get Out, Us) is reuniting with Universal Pictures to produce a remake of Wes Craven’s 1991 cult classic The People Under the Stairs, according to Collider.

Written and directed by Craven and released in November 1991, the original film centered on a young boy and two adult robbers who break into a house in a Los Angeles ghetto to steal a collection of rare coins but find themselves trapped inside by the strange couple who own the house and discover their horrifying secrets throughout. The cast for the original film included Brandon Adams (The Mighty Ducks), Everett McGill (Twin Peaks), Wendy Robie (Twin Peaks), A.J. Langer (Private Practice), Ving Rhames (Mission: Impossible — Fallout) and Bill Cobbs (Night at the Museum).

Click here to purchase Craven’s cult classic!

There’s currently no writer or director attached to the new version of Craven’s film, with Peele not expected to step into the director’s chair for the project but instead just produce alongside partner Win Rosenfeld via their Monkeypaw Productions banner. While he’s not expected to direct, it’s currently unknown whether he or Rosenfeld will contribute to the script in the same manner they did for their forthcoming Candyman reboot from co-writer/director Nia DaCosta (Captain Marvel 2).

The remake becomes the third attempt at bringing the property back to life in some capacity, as well as the first remake of a Craven film in five years after the MTV adaptation of Scream, with the late writer/director having expressed a desire to remake the film himself while also revealing shortly before his death that he was developing a series adaptation of the film for the SyFy channel, which was described as “a contemporary Downton Abbey meets Amityville Horror that would’ve followed a young woman who goes missing at the grand Robeson Family Manor and faces the centuries-old horrors that lie deep within the estate.”

Though initially debuting to mixed-to-positive reviews from critics, the film was a surprise box office hit and has since garnered positive attention from critics and audiences for its satirical exploration of gentrification, class warfare and capitalism.

(Photo Credit: Rebecca Sapp/Getty Images for SBIFF)

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Claudia Doumit & Colby Minifie Upped to Series Regulars for The Boys Season 3

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Claudia Doumit & Colby Minifie Upped to Series Regulars for The Boys Season 3

Claudia Doumit and Colby Minifie have been promoted to series regulars in Season 3 of the Amazon Prime Series The Boys, according to Deadline. Doumit stars as Victoria Neuman, the wunderkind congresswoman harboring a dark secret, while Minifie plays Ashley Barrett, the highly-stressed Senior VP of Hero Management for Vought.

Doumit joined the series as a recurring star in Season 2. Minifie has recurred in The Boys since the first season.

Showrunner Eric Kripke recently revealed the Season 3 premiere will be titled “Payback,” written by Craig Rosenberg, while also confirming filming on the next season is expected to begin in early 2021. He also teased a few details for Jensen Ackles’ Soldier Boy, who will be making his introduction in Season 3, by discussing Payback, the name of Soldier Boy’s superhero team that Kripke says “was the Seven before the Seven,” adding, “We will be exploring the history of that team and all the members in it.”

“One of the reasons that we’re getting into Soldier Boy [in Season 3] and that team, Payback, is we’re interested in exploring a little bit of how we got here,” Kripke explained. “Through the history of the supes, we can tell a little bit about the history of America and how we ended up in the current fraught position that we’re in. Soldier Boy gives us an opportunity to do that.”

In Season 2, The Boys are on the run from the law, hunted by the Supes, and desperately trying to regroup and fight back against Vought. In hiding, Hughie (Jack Quaid), Mother’s Milk (Laz Alonso), Frenchie (Tomer Capon), and Kimiko (Karen Fukuhara) try to adjust to a new normal, with Butcher (Karl Urban) nowhere to be found. Meanwhile, Starlight (Erin Moriarty) must navigate her place in The Seven as Homelander (Antony Starr) sets his sights on taking complete control. His power is threatened with the addition of Stormfront (Aya Cash), a social-media-savvy new Supe, who has an agenda of her own. On top of that, the Supervillain threat takes center stage and makes waves as Vought seeks to capitalize on the nation’s paranoia.

The Boys is an irreverent take on what happens when superheroes, who are as popular as celebrities, as influential as politicians and as revered as gods, abuse their superpowers rather than use them for good. It’s the powerless against the super powerful as The Boys embark on a heroic quest to expose the truth about the supergroup known as “The Seven.” The show retains most of the comics (available for purchase here) boundary-pushing violence and sexuality while exploring the dark side of superhero celebrity and fame.

The series was created by Evan Goldberg and Seth Rogen, who are responsible for another subversive comic book-inspired series, AMC’s Preacher, and Supernatural creator Eric Kripke.

Season 1 and Season 2 are available for streaming on Amazon Prime Video.