Emily Deschanel Previews Her 'Conniving' Turn on Animal Kingdom — Plus, Her Thoughts on a Bones Movie
May Sweeps Scorecard 2019: Deaths, Breakups, Weddings, Firings, Sex, Unthinkable Crossovers and More!
As the date of their next heist neared in the Season 4 premiere of TNT’s addictive Animal Kingdom, the Codys worried that Pope seemed weird. And when someone as weird as Pope seems weird even for him, you know you’ve got a problem. Read on, and we’ll not only marvel at just how big and dangerous that problem became, we’ll discuss the pickle in which Adrian has landed himself, Frankie’s surprise return (well, at least Craig was surprised) and the 1977 flashbacks that gave us a look at how Smurf became the queenpin we all know and love to hate.
‘HE’LL QUIT… WHEN HE WINS’ | As “Janine” began, we time-warped back more than three decades to watch a young Smurf (Leila George) on a bank job gone wrong with boyfriend Jake (Jon Beavers) and his crew. In subsequent flashbacks, the tension in the group came into sharp focus: Jake was all for Janine working jobs with them, but Colin (Grant Harvey) felt that, whether they wore masks, it made them stand out to have among them a girl with long blonde hair blowing in the breeze like a “Notice us!” sign. Her solution: She chopped it all off at the first opportunity. In the present, Smurf, her trademark ‘do long since perfected, calmly watched Pope work off a little aggression in an MMA cage fight that was so brutal, I think it bruised my eyeballs just from seeing it.
Later, after observing how well Adrian was surfing, Craig asked Deran’s boyfriend how come he kept losing. “It’s different when there’s cameras and judges and s—,” Adrian said. But the truth was, he was throwing contests in hopes of getting kicked off the circuit so that he wouldn’t be asked to smuggle drugs again. Only the DEA was extremely keen on him staying on the circuit and smuggling drugs. Despite his arrest, they didn’t want him. “You’re a bad liar and a bad drug smuggler,” an agent pointed out. They wanted bigger fish, and if he couldn’t reel them in, he’d be looking at decades in prison. Meanwhile, J was in college, dazzling a pretty classmate named Olivia (Kelli Berglund) with his boyish good looks as much as his aptitude for stats. “This is Josh,” she told pals Riley, Jackson and Benji. “He’s smart, and he hates fun.” Still, he was willing to let them join his study group. And though he turned down her invitation to hang, she was as undaunted as pretty girls always are. “One of these days,” she swore, “I will get you to come out with us.”
‘IF I WAS CHARGING YOU FOR THE SEX, YOU’D BE PAYING A LOT MORE’| At Casa Cody, Smurf tormented Pope — as if that could possibly be a wise thing to do! — by contemplating repainting Lena’s room. “I’ll let you pick the color,” she said, smiling her insincerest smile. “Leave it,” he grumbled. “Reminds me why I’m here.” At J’s bowling alley, Mia delivered a photo of a teenage diner waitress named Rosie — part of the heist du jour, we’d later figure out —and asked when he’d be showing up at home again. What, did she miss him? Ha, she replied. She just wanted to make sure she wasn’t having sex with two guys on the couch when he walked in. But seriously, she added, he couldn’t just come and go as he pleased. Except, J noted, he could — it was his house.
While looking for a getaway vehicle for the heist, Craig suggested to Deran that Adrian wanted to quit the tour so much because he didn’t trust his boyfriend to remain faithful when he was away. Gay dudes get around, Craig added, prompting Deran to point out that “I see one person in this car who’s had antibiotic-resistant gonorrhea twice, and it’s not me.” Quickly, the subject changed to Pope. Deran didn’t want to admit that their elder brother was acting weirder than normal, but as Craig noted, Pope had once again developed that look “like he doesn’t care what happens to him, like he could hurt somebody.” That being the case, uh, maybe he shouldn’t be a part of the job. He could turn an armed robbery into a murder in the time it takes to pull a trigger! Back at Casa Cody, Smurf questioned J about the girlfriend that she wasn’t allowed to meet. “Are you hiding her from us,” asked Grandmommie Dearest, “or is it the other way around?”
‘NOW WHO WANTS DESSERT?’| That evening at a family dinner, when Craig got done sharing horror stories about the tenants for whom he was now responsible as a property owner, Smurf asked Adrian when his and Deran’s housewarming was — and there did have to be a rager. “It will not be a home,” she insisted, “till you trash it with the ones you love.” Remember the first bash at their own house? she asked Pope. If he did, he didn’t say. He just finished Hoovering his food, grunted “Done” and left the table. See? Smurf said afterward. “He’s his normal self.” Was he, though? After Smurf sent Adrian inside, Craig announced that neither he nor Deran — surprise, Deran! — thought that Pope should be on the job. Smurf had not a scintilla of a s— to give. However, later, she did warn her eldest son, “Better make sure you got your s— together, baby.”
The following day, Frankie let herself into Craig’s unlocked condo and made coffee, scaring him half to death. “I love what you’ve done with the place,” she said, looking around the pigsty. Though yes, he’d gotten the money she sent, “I kinda thought I’d never see you again,” he admitted, reminding her that after their night of smoking crack and having sex, she’d disappeared on him. Oh, he of little faith! Not only was Frankie back, but she had another job if he was interested. And it was certainly safer than the bank job that he’d left plans for lying around. “Smurf’s gonna get you killed,” she predicted before offering her sometime lover’s bedmate a cup of coffee and taking her leave. At the same time, Deran ran Adrian through the steps that he had to take to be his alibi for the heist, and encouraged his boyfriend not to give up the circuit. Of course, he added when Adrian balked, the surfer could do whatever he wanted, no pressure.
‘IT’S A CONDOM!’| Finally, heist day arrived. At the diner, J charmed Rosie, then spilled his coffee in order to steal her cell phone. Soon, it became clear what Rosie had been all about: The Codys were going to use her as leverage to make her bank-manager father escort them into the vault full of safety-deposit boxes. They even had the guy call Rosie’s phone so that J could answer and threaten her to get him to cooperate. Brilliant! Evil but brilliant. Craig and Pope thought that they had it made when they got the guy zip-tied in the vault. Only suddenly, Deran reported that someone had triggered a silent alarm — the cops were on their way! It hadn’t been the bank manager, though; the thing he was hiding in his hand turned out to be a rubber. He’d been trysting with a teller, and she had triggered the alarm!
Quicker than you could choose an expletive, Deran had bleached the van they’d taken to the bank, and he, Pope and Craig were motorcycling away from the police. The robbers easily lost the cops by veering into an orchard, but at some point, Pope ceased to be behind Craig and Deran. WTF? Sending Deran on to meet J at the rendezvous point, Craig doubled back and found Pope walking toward the sound of the sirens. He’d wiped out, he said, a crazier-than-usual look in his eyes. So “I was gonna cut ’em off, give you a head start.” After Craig took his turn saying “WTF?” he got Pope back on a bike, and J drove them right past the oblivious cops in a produce truck. When they returned home, Smurf was waiting with a feast fit for a king… or at least her kingpins. So, what did you think of “Janine”? Are you digging the flashbacks? Anyone else worry that Adrian’s gonna sign his own death warrant by ratting out Deran’s family to save his own skin? Grade the episode below, then hit the comments.
Eric Chien appeared on America’s Got Talent tonight to see if he is not only the best magician on the internet but the best one to appear on AGT in a long time. Did he live up to the buzz and expectations?
During the season premiere, Chien performed what could almost be called an impossible card trick. It had to be a good one, as Shin Lim showed the AGT audience last season how good close-up magic could be on the stage.
A 26-year-old magician from Houston, Texas, Chien had an impressive stage presence from the minute he walked out in front of the new AGT judges and the audience at home.
The full video of his introduction and performance is shared below, and it is worth watching for anyone who enjoys America’s Got Talent or loves seeing magic played out live.
Eric Chien impresses AGT judges
At the beginning of his performance, Chien spoke about how he had only been doing on-stage magic for a few months. The judges asked about making magic on the AGT stage, and he stated that he saw what Shin Lim could do last year.
During the performance, there were constant gasps from the in-studio audience. Alternating between changing the colors of the cards from red to blue, Chien was also making cards disappear as he delt them out. That was all before he started turning the cards into coins.
Eric Chien performed some outstanding magic and ended up getting a standing ovation from the judges and the in-house audience.
It was amazing, and Julianne Hough said it best in that he doesn’t need to compare himself to anyone else. Simon Cowell said it was “on a different level.”
The AGT judges unanimously put Eric Chien to the next round, which followed Cowell stating he was “one of the best we’ve ever had.”
America’s Got Talent airs Tuesday nights at 8/7c on NBC.
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It can be difficult to determine exactly what will be a star’s “big break,” but it’s very likely that Booksmart is Kaitlyn Dever’s. The actress, who has been in the business for about ten years, starred in the new teen comedy, and she was, arguably, one of the best on screen (along with her dynamic co-star, Beanie Feldstein). Here’s what you need to know about Dever’s career thus far, what’s to come, and her estimated net worth.
Here’s how you know Dever
Dever has been in a pretty sizable amount of TV shows and movies over the past decade. She has appeared in single episodes of series such as Modern Family, The Mentalist, and Curb Your Enthusiasm. Dever played the recurring character Loretta McCready on Justified throughout the show’s six seasons.
She has also had some success on the big screen. Dever has appeared in acclaimed dramatic films such as J. Edgar, Detroit, and Beautiful Boy. She has also shown up in a few comedies, such as Bad Teacher and Laggies.
The last several years have been very successful for Dever. She starred as Eve Baxter on the sitcom Last Man Standing during its six-season run on ABC. Eve is the youngest daughter of Tim Allen’s Mike Baxter. Dever’s role became recurring when the show moved to Fox in 2018.
Additionally, Dever has some exciting projects on the horizon. She is set to star in the upcoming drama miniseries Unbelievable. The eight-episode project, which also stars Toni Collette and Merritt Wever, does not yet have a release date, but it is set to be distributed by Netflix. Dever will portray Marie, a teenager who recants an allegation of rape, leading the detectives to dig deeper.
Dever was a part of this phenomenal cast
Every now and then, there’s a film that somehow manages to get together a group of actors on the precipice of superstardom, just before they hit it big. In 2013, the indie drama Short Term 12 was released, and, despite being a relatively small project, ended up producing some of today’s most popular stars.
Take a look above. There’s Marvel superhero Brie Larson (Captain Marvel), Oscar-winner Rami Malek (Bohemian Rhapsody), Brooklyn Nine-Nine star Stephanie Beatriz, and Lakeith Stanfield, who got his start in Short Term 12 and has since gone on to appear in so many acclaimed films (Selma, Get Out, Sorry to Bother You) it’s hard to keep track of them all. Talk about a stacked cast.
Dever’s net worth
Given that she’s been in Hollywood all of her (short) adult life, Dever has amassed a fairly respectable net worth. According to Celebrity Net Worth, she is said to be worth somewhere around $1 million. Seeing her talent in Booksmart and the other incredible projects that she’s been in over the years, we’re fairly certain that that number will go up and she continues to do big things in show business.
This column contains some spoilers for the fourth season of Legends of Tomorrow, now available in its entirety on Netflix.
Midway through Legends of Tomorrow‘s Season Four finale, one of the show’s misfit heroes finds himself in hell, hanging out with supervillain Vandal Savage. Savage was the big bad of Legends‘ misbegotten first season, an over-the-top creep on a show with too many characters it had no idea what to do with. His brief return here, as smiling comic relief, is a wink to how far Legends has come over these four seasons. Once it was an overly serious collection of spare parts with no real reason to exist. Now, it’s not only my favorite of the CW’s lineup of DC Comics shows, but my favorite current superhero show, full stop.
Where Arrow, The Flash and Supergirl were all based on long-running comics properties with plenty of pre-existing narrative architecture, Legends was a hodge-podge. It took characters who’d outlived their usefulness on Arrow and Flash, threw in a handful of other B- and C-listers from those stories and gave them a time machine to go after Savage. It was a mess. There were too many characters, many of them with powers that were either too expensive or overly capable of solving story problems, to regularly deploy. The first season focused on the least interesting characters. The cast was game, but you could occasionally see a look of bewilderment cross the faces of actors like Brandon Routh (size-changing engineer Ray Palmer, a.k.a. the Atom) or Victor Garber (scientist Martin Stein, a.k.a. one half of the nuclear-powered Firestorm), as if they weren’t sure what they were doing here or why they were needed. (That the team had two resident geniuses in Ray and Martin was one of many redundancies.)
Starting with Season Two, the Legends creative team embraced the extraneousness of it all. The fact that these were heroes nobody else had any need for became text rather than subtext. The Legends knew they were unwanted screw-ups, and the series developed a necessary and endearing sense of humor as a result. That season pitted the team against a crew of bad guys from the other shows, each of them vastly more charismatic and entertaining than Savage had been. The following season kept Neal McDonough around as omnipotent villain Damien Darhk, while adding a new wrinkle: The Legends’ previous antics had broken time itself, so they also had to fix historical anomalies. (In one episode, they find Helen of Troy in 1937 Hollywood on the verge of inadvertently stealing Hedy Lamarr’s career.)
The show has also smartly kept churning through characters, rather than letting them burn out. Of that unwieldy original cast, only Routh, Caity Lotz (as martial artist and team leader Sara Lance, a.k.a. White Canary) and Dominic Purcell (as gruff ex-con Mick Rory, a.k.a. Heat Wave) remain. Some characters have come from other shows (Matt Ryan even came from NBC’s long-canceled Constantine). Others, like historian hero Nate “Steel” Haywood (Nick Zano), were more wisely pulled from the DC archives. And a few, like cloned government agent Ava Sharpe (Jes Macallan), were created specifically for the show.
Where Legends was once serious to a fault, now it’s endlessly playful. It acknowledges the fundamental silliness of the material in a way that so many shows of this genre are reluctant, if not embarrassed, to do. This has been an internal struggle among both superhero fans and creators for decades, going back at least to the Sixties Batman TV show with Adam West. Some demand you take the capes and code names seriously no matter what. Others quickly grow tired of the gloom and grittiness and just want to smile. The other Berlanti-verse shows are all capable of lightness (The Flash in particular operates best in that mode), but they have an unfortunate tendency to default to angst. Legends recognized in time the benefits of leaning into the inherent lameness of its characters and the convoluted nature of time-travel stories. It’s the kind of show not afraid to conclude a season with a climactic battle between an all-powerful demon and a giant-sized cuddly children’s show puppet named Beebo:
Beebo shows the Legends of Tomorrow who’s boss.
Yet that acknowledgement of its own stupidity has actually freed the Legends creative team to do better by the characters. Nobody’s bothering anymore to insist on their awesomeness relative to their super-peers. (There’s even a scene in the Season Four finale where three of the Legends have to dress up as Supergirl, Green Arrow and Flash for a commercial, because they know their own identities are too obscure for anyone to care.) Instead, the show gets to tell sincere character arcs — Sara and Ava’s tenuous romance, Nate trying to reconnect with his bureaucrat father (Thomas Wilson) — that are informed in part by everyone’s insecurity about not being good enough.
Season Four finds the Legends chasing down a bunch of monsters and other magical creatures that had been released from hell due to the team’s previous bumbling. It’s more appealingly ridiculous than ever, with the group doing battle with unicorns, a fairy godmother and a kaiju, among others. They defeat one monster with the songs of James Taylor, while a visit to Jane Austen’s England somehow finds room for a Bollywood musical number — and it makes sense in context. The eighth episode, “Legends of To-Meow-Meow,” is a particular blast: Groundhog Day meets Back to the Future Part II, as the Legends keep trying to fix a mistake in the time stream, only to make matters worse each go-round, with the team at various points turning into Charlie’s Angels, a bad Eighties action-movie pastiche and… more puppets.
Oh, and there’s a demonic nipple.
If you had told me back in the bad old days of Vandal Savage, Hawkman and Hawkgirl that Legends of Tomorrow would eventually be the only one of the CW’s superhero shows I watched regularly, I’d have laughed. Just not as loudly as I do, in a good way, at how wonderfully dumb the series has turned out to be.
Hannah Brown did not come to play. The Bachelorette star was not afraid to speak her mind—and shut down an eager man.
“It’s annoying when Luke P., like, tries to flaunt our connection in front of the guys. There have just been some, like, little red flags about how he carries himself that bothers me a little bit. It’s like this fine line that I really think is attractive to, like, it’s the most unattractive thing I’ve seen in my life,” Hannah told cameras on The Bachelorette‘s Monday, May 27 episode.
In their one-on-one, Luke P. praised Hannah for how amazing she was.
“I mean, I look at you, and you are beyond special to me,” Luke said. “And you do fit, like, the perfect mold of what I’ve been wanting my whole life in a future wife. And here I am letting other guys develop a stronger connection, a stronger relationship with you. I get to see you put everything you have in each and every individual relationship. I don’t know, I really don’t think these guys just have what it takes to be your future husband.”
Hannah then broke it down and told him nothing, including her, is promised to him—despite their strong connection.
“That bothers me a lot. I feel like your confidence in this kind of makes me irritated in a way,” she said.
And then Luke did a no-no.
“Well, look, can I just cut you off for a second?” he asked. “Honestly, I’m happy we’re having this conversation.”
But Hannah didn’t let that fly.
“Yeah, hold on. Let me talk,” she said. “I want you to, like, focus on me, and you do that, but you also don’t respect that I do have other relationships here for me and that bothers me. I like confidence, but it’s like, cocky in a way and I don’t like that at all. I want it to change.”
“There are shades of Chad there. But I don’t want to call him a ‘villain,’ because I don’t know that we necessarily have villains anymore — there are a lot more shades of gray,” Mills said. “Whether he’s in love with Hannah or not, he believes he’s in love with her, almost from the very beginning. So he’s not necessarily a bad guy, but he is a controversial guy.”
See how it plays out when The Bachelorette airs Mondays at 8 p.m. on ABC.
Richard Shepard‘s The Perfection is probably not a movie anyone would call predictable. It twists and turns, but more importantly, always reveals more underneath the star cellists of the movie, played with real intensity by Allison Williams and Logan Browning. They keep a movie grounded even as it quickly goes from gross to horrific to funny and to tragic, always keeping the audience on its toes.
Co-written by Nicole Snyder and Eric C. Charmelo, The Perfection pays homage to the cinematic worlds of Brian De Palma and Park Chan-wook. It’s not afraid to go to some dark places with its tongue remaining in its cheek, maintaining its sense of humor all the way until an unsettling end. While Shepard knows the Netflix thriller is not for everybody, based on the reviews, it’s proven to be a must-see for adventurous viewers.
It’s a movie with a lot of color and personality, much like Shepard’s last few movies: The Matador, The Hunting Party, and Dom Hemingway. Recently, Shepard told us about the making of his latest film, why movie stars like to take risks, and how Greg Kinnear saved The Matador.
This feels new and familiar from you, but I like how much of a departure it is from your last few movies.
Thank you. It’s definitely different from Dom Hemingway or The Matador, but there is definitely a sense of dark humor in there, though it’s a little harder to find perhaps.
Like your last few movies, The Perfection is about duos, like Pierce Brosnan and Kinnear in The Matador or Jude Law and Richard E. Grant in Dom Hemingway. When do you know two actors are really clicking? Is it always noticeable on set or do you sometimes not know until later?
Well, it’s obviously the big gamble in any of these movies when you’re pitching a two-hander, but putting together the cast is the main part of my job. And truly, in this case, I had written the movie with Allison in mind, and I was looking for someone to play opposite her that had a fierce intelligence just like Allison did. And Logan not only would give a great performance, but as a person, just such a dynamo. I thought together they would sort of push and challenge each other. Then again, you never know. It could have just been a disaster. I think everyone understood the movie that we were trying to make, its very specific tone. And I think once you understand the tone, much like my other movies, if you understand the tone then theoretically you understand the movie we’re trying to make.
Do you usually have a lot of conversations with actors about tone?
I think that my movies are so specifically about tone that there’s a lot of questions to be asked. It’s a little bit of a bonkers movie, and in general almost all my movies have a little bit of that to it. So I think if you get it, then you kind of get it. Certainly in this case, Allison and Logan spent a lot of time together going over the script just to make sure that they were understanding what each scene meant tone wise, because a movie like this which is mixing so many genres, it’s horror, it’s suspense, it’s comedy horror, it’s romance, there are so many different things that if you’re not quite on the ball or the same page, it really could just fall apart.
Your movies tend to have very colorful characters, but this is your most intricate plot, so I was wondering, do you usually start with a character or a story in mind?
I think every project is different. Certainly, The Matador was a situation where I just had an idea of two strangers meeting in a hotel bar, and I wrote the very first scene where they meet in the bar first before I had any idea what the movie was about. In this case, I didn’t set out necessarily to write a horror movie. I had an idea for a sequence on the bus, of someone getting sick on a bus, and how scary that could be. And from there Eric and Nicole, who I wrote the movie with, we sort of fleshed out the rest of the film. And then in a way, we fell in love with the story that we created around that initial idea, to the point where it all sort of made sense as crazy as it is.
At the end of the day, writing three-dimensional characters, no matter what genre you’re doing, is the key to getting a movie made because you’re not gonna be able to cast it. If you’re not doing a sequel or giant studio movie, when you don’t have a lot of money to pay your actors, the way to get the movie financed is to get an actor attached. I think that these are challenging roles, and certainly Alison I think was interested by doing something she’d never really done before.
You’ve definitely gotten actors to do things they normally haven’t in movies. What’s the trick? Is it just writing juicy roles?
I like to make the roles juicy and I appreciate you saying that. The fact is that I always go after actors who haven’t really done what I’m asking of them to do before that much, because you have a much better chance of getting them to, in a way, say yes. It’s like if I went to Jude Law with a romantic comedy I’m sure he’d be like, you’re paying me nothing, why would I do this when I can be paid that much money, a lot more money doing it [in a bigger movie]? If I went to Allison with a role just like Get Out or Girls, I think she would have been like, well I’ve done that before. It’s one thing if you’re backing up with money, but if you don’t have that to offer people, you have to offer something that’s a challenge.
I think actors inherently are risk takers. They’re surrounded by people who try to protect them, but at the end of the day, actors love to take risks. I think this is a situation where, with my other movies, Allison saw an opportunity also to show people what else she can do. And by doing that, she came in ready to create something that was deeply memorable. The fact is that once you’ve seen The Perfection, and if you like it, it’s really hard to shake both Alison and Logan’s performances.
Your last couple movies explored the comedy and drama in male intimacy. You directed episodes of Girls, but for the last few years, have you been wanting to finally make a movie with more female intimacy?
Well, I think that’s a good observation the fact that I’ve written a bunch of these male-centric movies. But I also directed a lot of episodes of Girls, and in other television work that I had done like the pilot of Ugly Betty or stuff like that, I had done female-centered projects before. With this movie, it just seemed like for whatever reason we had just started out with an idea, it stuck with me to try to write something for Allison because she’s my friend and I loved working with her on Girls, and so that challenge of trying to write something for an actor and get them interested, was one of the motivators as we were writing it.
It’s hard to classify my movies in a way, and I think that hurts me in some way that I’m not easily put into a box. And at the same time I love it, because it just continues to hopefully surprise people, but at the same time, hopefully, people who know my work or have liked my movies in the past, will be willing to sort of go on an adventure with me on a different path.
The kind of movies you make, how much is it an uphill battle getting them financed?
I think every movie is a miracle to get made. I said that before and I truly believe it. There are so many factors involved from trying to get producers that like the script, finding actors who want to do it, finding money that want to do it. In a way, a drama would be slightly easier to finance because there’s a built-in audience for it. But at the same time, this isn’t a slasher movie. There are violence and gore in it, but there’s far more violence and gore in other movies. And it’s about something, so there’s more than just one idea going on.
So it wasn’t immediately a slam dunk, but this one did come together pretty quickly. In a way, the amount of time in between movies that I make is because I end up making these without a lot of money, it takes a while. First of all, I have to take other work to pay my rent. I do a lot of television pilots, and it’s a great business to be in and I love it. But that takes months of the year doing that, and how much time do I have to write and all of that. But when I get an idea that I’m excited about, you’ve gotta say okay, I’m rolling up my sleeves, here’s two years of my life now to try to get this thing made, and then trying to get it sold.
This movie was made independently and we sold it to Netflix after Fantastic Fest last year, but that’s a terrifying thing. We premiered our movie to a room full of people who, if they didn’t like this movie, we were doomed because they were the perfect audience for it. It’s always a scary situation if someone didn’t want to buy it. Now I’m excited because we obviously have a chance to reach a bigger audience than any of my other movies ever got a chance to reach.
You have an array of tones in your movies and The Perfection, which has sensitive subject matter and dark humor. Without spoiling anything, you’ve said before you didn’t want to make an exploitative movie, so what was that line for you?
One of the reasons I started the conversation saying that Allison and Logan are very strong-willed people is I wanted that strong opinion surrounding me through the whole process from rehearsals to rewriting the script based on their thoughts, to putting them in fact into the editing room, which I invited both of them in to comment and look at, to make sure that we were treading this line. Some people will be triggered by this movie and some people will not see the fun in it, and I get that. Everyone’s view of this movie will be different because everyone is different.
But for us, we felt that we were right on the end of the wager there, and we just felt like we were writing it the correct way. The movies that I referenced for the actors to watch, and the rest of the crew to watch, like Oldboy and The Handmaiden, which also are full of twists and turns and have sex and violence and all sorts of stuff but they’re done in an artful, beautiful, controlled way. It’s a big deal for everyone to understand and see those movies, even in the writing process I showed Eric and Nicole those movies too because I feel like if we can maintain that balance, we can be something that is actually really beautiful, but at the same time, completely wacked out and insane. And that’s kind of what we were trying to do. We were like “holy shit, let’s see how far we can push it. Let’s do it.”
The scene where Logan Browning’s character gets sick on the bus overseas was based on a real experience you had. As far removed as you probably are from these characters, how much do they share with yourself and your own experiences?
I feel like my life and personality seep into my work without a doubt. I’m none of those characters, and I’m none of the characters in any of my movies. But at the same time, there’s been some pieces of me in all of it. And I do tap into things that have happened to me and moments that have happened to me, and feelings that I’ve had. I can’t help it. It’s part of what I do and being a filmmaker, as a writer/director I’m used to doing that. I’ve never made a simply autobiographical movie, and I don’t know if I ever will. But I feel that every single movie represents a part of me. This is perhaps an extreme part of me. But at the same time, I had great sympathy for Allison and Logan’s characters as twisted as they are. And I definitely found the humanity to them was my own humanity in a way. I think that’s true.
Certainly, this wasn’t based on the event that had happened to me, being sick on a bus. But that’s just the jumping off point to all the deeper stuff. It did lead to a really cool sequence, and for me, I can’t believe we got to make it, and how insane it is, and how amazing Logan is and Allison are in that scene. It’s a twenty-minute little sequence in a movie, but it’s like wow, that was super fun to do.
Before the interview, I read that Greg Kinnear gave you notes that saved The Matador. I love that movie, so I wanted to know, what were his notes?
Here’s what happened. I made The Matador and I was cutting it, and we were screening it week after week, and I showed it to Greg and he loved it, and he gave me some notes. And then right near the end we were in week twenty of editing, and everyone was really stressed out, and I was getting some investors and producers to cut a sequence in the movie, like a ten minute sequence in which Pierce Brosnan sort of admits that he made everything up, and it was a sequence at the house. It was a lot of pressure to remove it, and I did.
We locked picture when we actually cut negatives with the negative cutter. And then Greg was like “Can I see this final cut?” And I said “sure,” and I sent him the DVD of the movie, and he called me up on Sunday, I’ll never forget this, and he was like, “You ruined the fucking movie.” And I was like “What?” And he was like “You ruined it.” And I’m like, “I know, I realize it. I’ve been thinking that the whole time, but I’ve just been beaten down to cut this. But in my heart, I knew it was wrong too.” He was like, “You gotta put it back.” And I called everyone that night and said, “We’re putting it back.” And thankfully, they hadn’t started cutting the negative yet. But to me, it really did save… I totally believe the movie would not have been as well regarded and wouldn’t have done for me what it did if he hadn’t splashed really cold water in my face.
The Perfection is now available to stream on Netflix.
The third and final season of Jessica Jones will premiere June 14th on Netflix. The streaming service announced the premiere date with a short teaser in which a menacing voice threatens Jones as the camera moves down the hallway towards her office: “Jessica Jones, you are a fraud. You’re a cheater. No longer.” After Jones goes to answer a knock on her door, the clip makes a violent cut before quickly coming to a close.
Season Three of Jessica Jones will center around a confrontation between Jones (played by Krysten Ritter) and a highly intelligent psychopath. In order to defeat him, Jones must reunite and repair her relationship with her friend and foster-sister Tirsh (Rachael Taylor), but “a devastating loss reveals their conflicting ideas of heroism and sets them on a collision course that will forever change them both.”
In February, Netflix announced that the third season of Jessica Jones would be its last. Since premiering in 2015, the show has garnered heaps of praise from critics and fans, even winning a Peabody Award in 2016.
Along with canceling Jessica Jones, Netflix also ended its other Marvel superhero shows comprised “The Defenders,” including The Punisher, Iron Fist, Luke Cage and Daredevil. The cancellations come as Disney — which owns Marvel — prepares to launch its own streaming service later this year.
Love Island 2019 is back on ITV2 next week with a new line-up of 12 singletons hoping to find romance in the villa. The brand new line-up has been revealed by ITV with Caroline Flack confirmed to be back hosting the reality show. But when will the Love Island 2019 start on ITV?
When does Love Island start on ITV?
Love Island 2019 fans will be pleased to hear they won’t be waiting much longer for series five.
ITV has announced that the latest cycle will be hitting our screens on Monday, June 3.
Making its big comeback, Love Island 2019 will see 12 new contestants heading to Majorca to find love.
The first episode of the new series will air at 9pm on ITV2.
LOVE ISLAND 2019 CAST INSTAGRAM ACCOUNTS REVEALED
The special introductory episode will run for one hour and 35 minutes until 10.35pm, introducing us to the new contestants.
Then fans will have the opportunity to tune in every night that week with ITV announcing episodes up until Friday night so far.
The episodes announced are an average of one hour with Tuesday and Friday episodes running for one hour and five minutes.
The format is likely to follow the previous series with fans having the opportunity to watch the show nightly for six nights of the week before the weekly break.
WHERE IS LOVE ISLAND FILMED?
However we don’t yet know how long series five will be running for but previous series have been increasing in length each year.
Last year was the longest yet with the contestants battling it out in the villa for a total of eight weeks.
The announcement was officially unveiled by Caroline Flack in a new teaser with the hashtag #DayDotIsComing.
Flack will be returning as the host of the new series alongside Iain Stirling who will be back with his much-loved commentary.
LOVE ISLAND 2019 CAST
ITV has also announced the new line-up of twelve men and women who will be arriving with the hope of winning a huge cash prize as well as finding love.
The list contains six girls and six boys who will soon be paired up and competing against each other to find love.
The line-up of the show has also been revealed with a number of Instagram famous names on the list, including Lucie Donlan and Anna Vakili.
Some celebrity relations are also set to join the villa including boxer Tyson Fury’s brother Tommy Fury and Strictly Come Dancing dancer AJ Pritchard’s brother Curtis Pritchard.
We’re yet to see who will pair up with who amongst the show’s contestants but all will be revealed next Monday.
But there is sure to be a lot of drama when the contestants hit the villa next week.
Love Island 2019 starts at on ITV2 on Monday, June 3 at 9pm.