For director Matt Reeves' upcoming The Batman, The Lighthouse's Robert Pattinson will be taking on the mantle. But, as many will already know, that was not always the plan as Ben Affleck was supposed to continue wearing the cape and cowl and continue the work he had done as the character in both Batman V Superman: Dawn of Justice and Justice League. Many fans were disappointed when Affleck stepped away from the role, but over the last few days he has been giving his reasons, and now he has given another one.'You know big blockbusters are cool and they're great. But they're not that fun to make, just on a very practical level, because they're very long, they're very compartmentalized, you're doing one tiny piece at a time. Often times, you're just feeling like you're moving your foot a quarter of an inch.
They're hard to continue to motivate yourself, and find your passion. I stepped away from The Batman movie, because I felt like it should be made by someone whose lifelong passion it was, you know what I mean? And if that wasn't me, then I wasn't the right guy.'
Ben Affleck is partly blaming blockbuster filmmaking for pushing him away from The Batman, stating that they just are not much fun to make, with actors often feeling like they aren't getting anywhere. Though Affleck has starred in some big, tentpole movies over the years, his career more recently has mostly involved character-driven projects rather than explosive blockbusters so it does make sense that he, perhaps, was not enjoying starring in the DC movies very much.Ultimately, it sounds like this, combined with the other, very personal reasons that Affleck has given, killed off his passion for The Batman, and so he did the right thing and stepped away to make room for someone more eager to do it. This ties in with Ben Affleck's previous comments about how his struggle with alcoholism also led to him leaving the role. 'I drank relatively normally for a long time. What happened was that I started drinking more and more when my marriage was falling apart. This was 2015, 2016. My drinking, of course, created more marital problems.'
The Justice League movie had a famously problematic production which no doubt fueled both his problems at home and his slight disdain for blockbuster movie-making. Having made the role his own during his several appearances as the character in the DCEU, it is a shame that these issues behind the scenes sapped his desire to play the character, as we have no doubt that he would have made an excellent solo Batman movie.
The Batman movie we are getting, which is also shaping up very nicely, opens in theaters on June 25, 2021. This comes to us from Cinemablend.
Focus Features proved this weekend that Jane Austen’s classic of romantic misadventures and the humor that goes with it remains timeless. Emma., Autumn de Wilde’s visionary and fresh adaptation of the Austen novel, opened in five theaters in New York and Los Angeles to strong numbers, grossing an estimated $230,000. This brought the per-theater average to $46,000, which is the highest of any specialty opening this year — not too shabby for the Anya Taylor-Joy-led period rom-com.
The five runs across the Landmark, Alamo Drafthouse and Angelika in New York and the Arclight Hollywood and Landmark in Los Angeles are all reporting impressive numbers as the film sits at an 88% critics score on Rotten Tomatoes and audiences seem to love it as they have ranked it at 100%.
Emma.‘s box office performance echoes similar openings of period pieces for Focus Features including Victoria & Abdul 2017, which opened in four theaters with a per-theater average of $40K before going on to bank $22M at the domestic box office. In 2018, Mary Queen of Scots also opened in four theaters with an average of $49K PTA and went on to earn $16.5M domestic. Four theaters seemed to be a magic number for Focus as 2016’s Love & Friendship opened to a per-screen average of $33K with a final domestic box office of $14M.
If word of mouth and positive buzz for the film continues, it is on track to continue this stellar performance when it expands to approximately 100 theaters in 25 markets.‘Impractical Jokers: The Movie’ truTV
The pranking, hidden camera hijinks of Impractical Jokers: The Movie snuck into the specialty box office space and had the last laugh with very solid numbers with 380 runs, with big numbers in New York, Los Angeles and Chicago. The movie based on WarnerMedia’s truTV unscripted series the big-screen version incorporates pranks into a narrative banked an estimated $1,961,015 at the end of day Saturday and is honing in on $2,568,000 for the entire weekend. If the momentum continues it can pad its box office cume as it goes wider next week.
Amazon Studios’ Seberg earned $60,487 in its three runs for its theatrical debut after its qualifying run last year. The Benedict Andrews-directed thriller about the real-life actress Jean Seberg started off strong at the Arclight Hollywood in L.A. banking a little over $14K, but attendance dropped over the weekend. In New York, we are hearing the numbers were not as strong at the Angelika and Landmark. Fingers crossed that the film gains traction next weekend when it opens in over 300 theaters nationwide.The Band L-R: Rick Danko, Levon Helm, Richard Manuel, Garth Hudson, and Robbie Robertson in ‘Once Were Brothers’ Courtesy of Elliott Landy
Daniel Roher's debut feature documentary Once Were Brothers: Robbie Robertson and the Band performed similarly to Seberg at the Arclight Hollywood on Friday, earning an estimated $13.1K, but saw a decline over the weekend. As for its other three locations in New York and L.A., we are hearing the Magnolia Pictures docu didn’t perform as well. Overall it, is looking at a weekend gross of $41,500 before expanding to 140 screens in 40 markets next weekend.
Oscilloscope Labs’ CatVideoFest 2020 clawed its way into 30 screens across the country. It earned an estimated $220,150. Sellout theaters were reported this weekend including New York, Seattle, Boston, Chicago, Indianapolis, Raleigh and Grand Rapids.
The fest celebrates cats via the best videos culled from a variety of submissions — and it is catnip for feline lovers. Last year, CatVideoFest grossed over $500K. This year, O-scope was...
English composer Daniel Pemberton is as wildly diverse and entertaining as Harley Quinn herself. He is a multi Golden Globe, Emmy and Bafta Award-nominated composer who has worked with some of the most renowned names in the industry such as Darren Aronofsky One Strange Rock, Ridley Scott All The Money in The World, The Counsellor, Guy Ritchie The Man From UNCLE, King Arthur: Legend of the Sword, and Danny Boyle Yesterday, Steve Jobs. Pemberton received critical acclaim for his score on Oscar-winning film Spider-Man: Into the Spider-Verse and is now back in the comic world with his latest score for Cathy Yan’s Birds of Prey.
We spoke with Pemberton about his latest score and what it was like to collaborate with director Cathy Yan.
You mentioned that you wanted to show that comic films can have a different sound. Like the lead character Harley Quinn, you’re someone who defies genres. Can you elaborate on that more in terms of how you used different styles of music to reflect Harley’s multifaceted character?
There’s so many aspects to her, I wanted her to have that punky kind of edge with a mix of manic energy like that of an acid house track as well as an elegant opera. She also has a quirky part of her reminiscent of ‘60s doo-wop. I felt like she has all these personality traits and she was like a schizoid multiple personality, so I felt that the music had to have a similar approach and aesthetic to it. So, it’s really about mixing all these genres together that normally wouldn’t work, but it does. It’s kind of like her style, too.
The operatic “The Fantabulous Emancipation” and the whistling components in “Bad Ass Broad” reminded me of Ennio Morricone. Were there particular composers or bands that you drew inspiration from for this score?
Anyone who knows me, knows I love Ennio Morricone. He’s one of my all-time favorite composers and influences. A documentary by a really great British artist named Jeremy Deller called Everybody in the Place was also a big influence. I watched that while I was coming up with ideas. It was about acid house and rave culture in Britain in the late ‘80s and early ‘90s and how it was a very exciting cultural movement. The documentary was basically him giving a lecture to a bunch of teenage kids who didn’t really understand what it is and they’d never heard of it. It’s a great film and he’s a great artist, but it reminded me how much I love the sound of the TB-303 which is the essential kind of sound of acid house. That world was so mad and colorful and sort of dark, but also fun and crazy. It felt really similar to Harley’s world, and it’s such a good instrument. I thought no one has really used this in films and I wanted to get it into this.
I have a good friend named Brian Dougans who’s in a band called The Future Sound of London, but he also made one of the most important acid house records with the 303 called “Stakker Humanoid”. He’s a complete demon on the 303, so I worked with him on some early workshop sessions just to kind of get some insane sounds towards the end of the film and in various fight sequences. I really just tried to pull from any kind of musical medium that would work within the confines of film music.
How did you go about navigating which style of music to portray the various stages of Harley’s story and emotional journey?
There are quite a lot of different parts to her story. She gets her confidence after feeling very weak because she broke up with someone and feeling that they need someone else to justify who they are then to standing on her own two feet. I call that “The Emancipation Theme” and that runs throughout the film in a number of different ways. One of which is that we reworked it into the song “Joke’s on You” and then you hear it...
riveting true crime podcast “Thunder Bay” – which explores the incredibly high homicide and hate crime rates in Thunder Bay, Ontario — will be developed for television, it was announced Thursday, and will show a darker side to Canada that hasn’t been witnessed by the rest of the world. project will be co-produced by Miranda de Pencier's Northwood Entertainment, known for “Anne With an E,” alongside Anishinaabe comedian/writer/podcaster Ryan McMahon, and journalist and Canadaland founder/publisher, Jesse Brown. critically acclaimed podcast examines not just the killings of nine Indigenous high school students, but what factors led to their murders. This includes the impact of colonialism and the rampant racism typical of smaller cities that contributed to their deaths.
“The fact that a podcast like 'Thunder Bay' has received more than a million downloads globally makes it clear that the world is ready to hear about the complex and nuanced relationship between Indigenous and non-Indigenous people,” said McMahon, co-writer and host of “Thunder Bay.” “We just scratched the surface of these stories through our podcast, and the team at Northwood Entertainment will help us bring the complicated dance of colonialism to the screen.”
“On our podcast, Ryan only told a fraction of the shocking stories that we found in Thunder Bay,” said Brown. “With Miranda’s excellent help, we will keep holding a mirror up to this troubled city, and to Canada itself. These stories cannot be told enough.”
De Pencier added, “'Thunder Bay' is the most gut-wrenching, outrageous, shocking and important podcast I have ever experienced. I love my country, but it’s messed up. So working with Ryan and Jesse to turn their brilliant podcast into a dramatic series right now feels beyond insanely exciting. It feels vital.”
A showrunner and platform has yet to be named for the series.