Magpie revolves around a toxic heterosexual marriage dynamic you’ve certainly seen a thousand times before, if not in real life then at least in pop culture. Annette (Daisy Ridley) is the long-suffering wife, who’s sacrificed her career to cook and clean and raise children for an ungrateful man. Ben (Shazad Latif) is that ungrateful man, who seems to notice Annette only when he’s ticked off with her.
When a glamorous actress (Matilda Lutz’s Alicia) enters their lives via a movie role for their daughter (Hiba Ahmed’s Tilly), it’s practically a foregone conclusion that Ben will further neglect Annette in favor of this shiny new romance. The big question, then, is what Annette might do — what a woman already on the edge might prove capable of once she’s pushed. But despite a juicy hook built on heated emotions and drastic actions, Magpie proves too...
When a glamorous actress (Matilda Lutz’s Alicia) enters their lives via a movie role for their daughter (Hiba Ahmed’s Tilly), it’s practically a foregone conclusion that Ben will further neglect Annette in favor of this shiny new romance. The big question, then, is what Annette might do — what a woman already on the edge might prove capable of once she’s pushed. But despite a juicy hook built on heated emotions and drastic actions, Magpie proves too...
- 3/10/2024
- by Angie Han
- The Hollywood Reporter - Movie News
In the entertainment industry, it is not uncommon to discover that two people are related to each other. When this happens, it is usually the case for one sibling to be more famous than the other. This applies to Isobel Waller-Bridge, the lesser-known Waller-Bridge Sister. Isobel Waller-Bridge is a composer. She is known for her work on several TV shows, movies and plays. The work she does as a musician is however not limited to these scores, she also makes music that fits in the electronic and contemporary classical genres. What Was Isobel Waller-Bridge’s Early Life Like? Isobel Waller-Bridge was...
- 11/6/2023
- by Nkem
- TVovermind.com
Films about fictitious great writers often stumble when it comes to the character’s actual writing: Viewers must suspend disbelief that a lofty literary reputation has been built on the purplest of screenwriter-devised prose. A blackly comic melodrama in which writerly ego, ambition and insecurity do increasingly destructive battle, “The Lesson” gets around that trap by folding questions of authorship into its arch country-house mystery: Who is writing what, and to what extent it matters, are the questions that keep director Alice Troughton and screenwriter Alex MacKeith’s mutual debut feature interesting, even as it slides into occasional, overheated cliché.
When the film’s own words don’t quite pass muster, however, a tight, tony ensemble of actors gives them some polish and punch. A big, ripe turn by Richard E. Grant — as a celebrated British novelist looking to emerge from a gloomy hiatus with one more masterwork — represents the...
When the film’s own words don’t quite pass muster, however, a tight, tony ensemble of actors gives them some polish and punch. A big, ripe turn by Richard E. Grant — as a celebrated British novelist looking to emerge from a gloomy hiatus with one more masterwork — represents the...
- 6/16/2023
- by Guy Lodge
- Variety Film + TV
Alice Troughton’s first feature is a jewel, an exquisitely made chamber piece with Richard E. Grant as J.M. Sinclair, an acclaimed novelist on his way down, Julie Delpy as Helene, his art-curator wife, and Daryl McCormack as Liam, a would-be novelist who idolizes Sinclair. With a clever script that keeps us off guard, the setting of a gracious country estate whose sumptuous visuals mask a dark undercurrent, and a score that entices us into an increasingly unsettling world, The Lesson is a small delight.
The opening scene makes it seem as if we can see the film’s whole trajectory. Liam is being interviewed about his first novel, whose plot about a great patriarchal writer is obviously based on Sinclair. The narrative then flashes back to the beginning of the story, when Liam is hired to tutor the Sinclairs’ son, Bertie (Stephen McMillan), for his entrance exams to Oxford University.
The opening scene makes it seem as if we can see the film’s whole trajectory. Liam is being interviewed about his first novel, whose plot about a great patriarchal writer is obviously based on Sinclair. The narrative then flashes back to the beginning of the story, when Liam is hired to tutor the Sinclairs’ son, Bertie (Stephen McMillan), for his entrance exams to Oxford University.
- 6/13/2023
- by Caryn James
- The Hollywood Reporter - Movie News
Appointments
Argonon Group, the parent company behind “The Masked Singer U.K.,” has appointed former Jupiter Entertainment executive VP Steve McGovern as COO of its U.S. business with a remit across Leopard USA, Rose Rock Entertainment and future U.S. operations including acquisitions.
Argonon, a global production group headquartered in the U.K. and U.S., owns Scottish indie production company Bandicoot, which makes the U.K. version of “The Masked Singer” as well as “The Masked Dancer.”
As part of the group’s strategic shift to the West Coast and upscaled focus on streamers, networks and platforms, McGovern’s role will be based in Los Angeles. Shirley Escott, currently Leopard USA’s COO, relocates to London to pursue other projects after five years in the post. McGovern will report into Argonon CEO James Burstall and Laura Bessell, Argonon’s global COO.
The role will see McGovern work closely...
Argonon Group, the parent company behind “The Masked Singer U.K.,” has appointed former Jupiter Entertainment executive VP Steve McGovern as COO of its U.S. business with a remit across Leopard USA, Rose Rock Entertainment and future U.S. operations including acquisitions.
Argonon, a global production group headquartered in the U.K. and U.S., owns Scottish indie production company Bandicoot, which makes the U.K. version of “The Masked Singer” as well as “The Masked Dancer.”
As part of the group’s strategic shift to the West Coast and upscaled focus on streamers, networks and platforms, McGovern’s role will be based in Los Angeles. Shirley Escott, currently Leopard USA’s COO, relocates to London to pursue other projects after five years in the post. McGovern will report into Argonon CEO James Burstall and Laura Bessell, Argonon’s global COO.
The role will see McGovern work closely...
- 4/5/2023
- by Naman Ramachandran
- Variety Film + TV
London-based PR maven Matthew Freud, joined by fellow Brit and collaborator Charlie Mackesy, offered his apologies for winning the Oscar for Short Film (Animated) for The Boy, The Mole, The Fox and the Horse.
“I’ve never made a film before, so this is bewildering,” Freud said in accepting the trophy. “I know the protocol is to say ‘thank you’ a lot, but I’m British, so I’m more comfortable saying ‘sorry.’ So, I’m really sorry to all the people who should be on this stage with us,” alluding to the large crew and voice cast who teamed up for two years during Covid to make the film. Freud closed by quipping that he was “also really sorry to my children, my girlfriend and my colleagues at [PR firm] Freuds for basically being absent over the last two years.”
The Boy came into Oscar night as a heavy favorite in the category.
“I’ve never made a film before, so this is bewildering,” Freud said in accepting the trophy. “I know the protocol is to say ‘thank you’ a lot, but I’m British, so I’m more comfortable saying ‘sorry.’ So, I’m really sorry to all the people who should be on this stage with us,” alluding to the large crew and voice cast who teamed up for two years during Covid to make the film. Freud closed by quipping that he was “also really sorry to my children, my girlfriend and my colleagues at [PR firm] Freuds for basically being absent over the last two years.”
The Boy came into Oscar night as a heavy favorite in the category.
- 3/13/2023
- by Dade Hayes
- Deadline Film + TV
When writer Charlie Mackesy was searching for someone to score the music for the adaptation of his beloved book 2019 book “The Boy, the Mole, the Fox and the Horse,” he thought of Isobel Waller-Bridge.
The story about four characters who are lost and need connection is about vulnerability, and for Waller-Bridge and Mackesy, the idea of needing connectiion was best relayed through a musical palette using the piano and a cello.
Here, Waller-Bridge discusses navigating the score and the most important music cues.
What was your introduction to the book, and what did getting the call from Charlie mean to you?
My brother gave me the book for Christmas in 2019. I remember opening it and seeing these beautiful illustrations and these poetic words, and I just fell in love with it. When Charlie asked me to write the music for the film, it was an incredibly profound thing because this...
The story about four characters who are lost and need connection is about vulnerability, and for Waller-Bridge and Mackesy, the idea of needing connectiion was best relayed through a musical palette using the piano and a cello.
Here, Waller-Bridge discusses navigating the score and the most important music cues.
What was your introduction to the book, and what did getting the call from Charlie mean to you?
My brother gave me the book for Christmas in 2019. I remember opening it and seeing these beautiful illustrations and these poetic words, and I just fell in love with it. When Charlie asked me to write the music for the film, it was an incredibly profound thing because this...
- 3/2/2023
- by Jazz Tangcay
- Variety Film + TV
On Oscar night, “Guillermo del Toro’s Pinocchio” will almost certainly win the Academy Award for feature animation. For many of those following along at home, it will look as though the director of “Pan’s Labyrinth” and “The Shape of Water” is being rewarded for some kind of secondary passion, as if del Toro had scaled Everest and then set his sights on a smaller peak on which to plant his flag. But that’s not how it happened at all.
Way back in Mexico, del Toro started his filmmaking career doing animated shorts: Obsessed with Ray Harryhausen, the amateur future auteur built rudimentary armatures, painstakingly repositioning the puppets one frame at a time. Decades later, once established in Hollywood, del Toro accepted a side gig at DreamWorks Animation, serving as a story consultant on films such as “Megamind” and “Kung Fu Panda 2” as a pretext for teaching himself the trade.
Way back in Mexico, del Toro started his filmmaking career doing animated shorts: Obsessed with Ray Harryhausen, the amateur future auteur built rudimentary armatures, painstakingly repositioning the puppets one frame at a time. Decades later, once established in Hollywood, del Toro accepted a side gig at DreamWorks Animation, serving as a story consultant on films such as “Megamind” and “Kung Fu Panda 2” as a pretext for teaching himself the trade.
- 3/2/2023
- by Peter Debruge
- Variety Film + TV
A version of this story about Charlie Mackesy and “The Boy, the Mole, the Fox and the Horse” will appear in the Down to the Wire issue of TheWrap’s awards magazine.
Charlie Mackesy’s bestselling 2019 book “The Boy, the Mole, the Fox and the Horse” is a slim illustrated volume in which very little happens apart from a conversation between four different creatures about kindness, love and accepting oneself. A delicate and philosophical creation, it has been adapted into a 34-minute film that adds just enough plot without ever betraying the heart of the original book.
The film, which is available on Apple TV+, is nominated in the Best Animated Short category at the Oscars. But it has already won the British Academy Film Award (BAFTA) for Best British Animation and it took home four awards at Saturday’s Annie Awards. In addition to winning Best Special Production, it triumphed in the character animation,...
Charlie Mackesy’s bestselling 2019 book “The Boy, the Mole, the Fox and the Horse” is a slim illustrated volume in which very little happens apart from a conversation between four different creatures about kindness, love and accepting oneself. A delicate and philosophical creation, it has been adapted into a 34-minute film that adds just enough plot without ever betraying the heart of the original book.
The film, which is available on Apple TV+, is nominated in the Best Animated Short category at the Oscars. But it has already won the British Academy Film Award (BAFTA) for Best British Animation and it took home four awards at Saturday’s Annie Awards. In addition to winning Best Special Production, it triumphed in the character animation,...
- 2/27/2023
- by Steve Pond
- The Wrap
More than 100 key figures from the UK film and TV industry have signed a letter urging the UK government to take “immediate action” against Iranian authorities for “gross violations of human rights and women’s rights” in their response to the wave of public protests that erupted last year.
The industry leaders, including Barbara Broccoli, Phoebe Waller-Bridge, and Edgar Wright, are calling for the UK government to “actively campaign to stop the violence used against the protesters in Iran, including an immediate stop to all executions” and “demand the release of all political prisoners in Iran.”
“Enough is enough. If the global community, which the UK is an active and influential member of, does not act firmly, these atrocities will continue,” the letter reads. “We need to sincerely support the people of Iran in their fight for justice and freedom.”
The letter was organized by British-Iranian filmmaker Babak Anvari (Under...
The industry leaders, including Barbara Broccoli, Phoebe Waller-Bridge, and Edgar Wright, are calling for the UK government to “actively campaign to stop the violence used against the protesters in Iran, including an immediate stop to all executions” and “demand the release of all political prisoners in Iran.”
“Enough is enough. If the global community, which the UK is an active and influential member of, does not act firmly, these atrocities will continue,” the letter reads. “We need to sincerely support the people of Iran in their fight for justice and freedom.”
The letter was organized by British-Iranian filmmaker Babak Anvari (Under...
- 1/17/2023
- by Zac Ntim
- Deadline Film + TV
A growing number of figures from the film and TV industry in the U.K. have signed a letter urging British politicians to support the people of Iran as the country faces global condemnation for executing several of those involved in the wave of protests that erupted last year.
The letter, instigated by British-Iranian filmmaker Babak Anvari, calls for members of U.K. parliament to actively campaign for Iran to stop violence against protesters and end all executions, to hold Iran accountable for the “gross violations of human rights and women’s rights,” and to demand that Iran releases all political prisoners.
Among the almost 100 names to have signed the letter, which is still circulating and gathering attention, are Olivia Colman, Martin McDonagh, Jessie Buckley, Phoebe Waller-Bridge, Brett Goldstein, Jonathan Pryce, Hugh Bonneville, Richard Curtis, Gillian Anderson, Felicity Jones, George Mackay, Edgar Wright and Hayley Atwell.
The letter is the latest...
The letter, instigated by British-Iranian filmmaker Babak Anvari, calls for members of U.K. parliament to actively campaign for Iran to stop violence against protesters and end all executions, to hold Iran accountable for the “gross violations of human rights and women’s rights,” and to demand that Iran releases all political prisoners.
Among the almost 100 names to have signed the letter, which is still circulating and gathering attention, are Olivia Colman, Martin McDonagh, Jessie Buckley, Phoebe Waller-Bridge, Brett Goldstein, Jonathan Pryce, Hugh Bonneville, Richard Curtis, Gillian Anderson, Felicity Jones, George Mackay, Edgar Wright and Hayley Atwell.
The letter is the latest...
- 1/16/2023
- by Alex Ritman
- The Hollywood Reporter - Movie News
Let’s be honest, it’s a little harder than usual to get into the festive spirit. Times are tough. Good news feels tricky to find. Getting warm and cosy costs a lot. Nurses, rail workers and Royal Mail staff are being forced to strike. Prices are (still) rising, and the need to pinch pennies for presents is more anxiety-inducing than ever. Enter the BBC’s adaptation of Charlie Mackesy’s The Boy, the Mole, the Fox and the Horse. This tale of love and hope is half an hour of unmitigated joy.
With Mackesy’s sketched animation, you’d be forgiven for thinking this was one for the kids. But bundled within the snowy scenes are messages for all ages. “You fell, but I’ve got you,” the Horse tells the Boy at one point. If you’re already familiar with the book, this understated adaptation brings the tale...
With Mackesy’s sketched animation, you’d be forgiven for thinking this was one for the kids. But bundled within the snowy scenes are messages for all ages. “You fell, but I’ve got you,” the Horse tells the Boy at one point. If you’re already familiar with the book, this understated adaptation brings the tale...
- 12/24/2022
- by Megan Graye
- The Independent - TV
Apple TV+ released the trailer for its upcoming animated short “The Boy, The Mole, The Fox and the Horse,” an adaptation of the 2019 bestseller from Charlie Mackesy, which won the Book of the Year award from British chain Waterstones. Its debut on December 25 positions it well for nominations in the Best Animated Short Oscar race.
The children’s fable was produced by J.J. Abrams and Cara Speller, a producer on “Ant-Man” and “Rocket & Groot” animated series, as well as “Love, Death, & Robots.” Woody Harrelson is an executive producer.
The voice cast includes Jude Coward Nicoll (the boy), Tom Hollander (the mole), Idris Elba (the fox), and Gabriel Byrne (the horse). Peter Baynton, whose work in visual effects includes the beloved “Paddington 2,” is the co-director alongside Mackesy. Jon Croker, credited with “additional material” for “Paddington 2,” plus a co-writing credit on the quite good Netflix horror pic “No One Gets Out Alive,...
The children’s fable was produced by J.J. Abrams and Cara Speller, a producer on “Ant-Man” and “Rocket & Groot” animated series, as well as “Love, Death, & Robots.” Woody Harrelson is an executive producer.
The voice cast includes Jude Coward Nicoll (the boy), Tom Hollander (the mole), Idris Elba (the fox), and Gabriel Byrne (the horse). Peter Baynton, whose work in visual effects includes the beloved “Paddington 2,” is the co-director alongside Mackesy. Jon Croker, credited with “additional material” for “Paddington 2,” plus a co-writing credit on the quite good Netflix horror pic “No One Gets Out Alive,...
- 12/9/2022
- by Jordan Hoffman
- Gold Derby
When it comes to memorable scores, the five artists on the Gold Derby “Meet the Experts” composers panel are second to none. In fact, it’s likely Isobel Waller-Bridge, Abel Korzeniowski (“Till”), Benjamin Wallfisch (“Thirteen Lives”), Terence Blanchard (“The Woman King”) and Nathan Johnson (“Glass Onion”) will end up on more than a few Spotify Wrapped lists by year’s end. Not that most of those composers are actually focused on how their music will live beyond their film projects.
Watch our exclusive roundtable panel above with all 5 composers. Click on each name to watch that person’s individual video interview.
I don’t think about if it’s going to be an enjoyable or interesting listen outside the context of the film,” Waller-Bridge says. “I’m so involved with how it serves the story and what the journey of the music is doing and how it’s feeding the...
Watch our exclusive roundtable panel above with all 5 composers. Click on each name to watch that person’s individual video interview.
I don’t think about if it’s going to be an enjoyable or interesting listen outside the context of the film,” Waller-Bridge says. “I’m so involved with how it serves the story and what the journey of the music is doing and how it’s feeding the...
- 11/21/2022
- by Christopher Rosen
- Gold Derby
When author and illustrator Charlie Mackesy released “The Boy, The Mole, The Fox and the Horse” in the fall of 2019, it became an immediate sensation and a popular holiday gift. Just ask composer Isobel Waller-Bridge.
“I was given the book by my brother at Christmas, and I remember retreating into a quiet corner, so that I could absorb the whole thing. Because it was so beautiful and so gentle and kind of profound in the illustrations,” Waller-Bridge tells Gold Derby in an exclusive video interview as part of our “Meet the Experts” composers panel. “I totally fell in love with it when I first read it.”
Waller-Bridge wasn’t alone in her feelings and in the early days of the coronavirus pandemic, “The Boy, The Mole, The Fox and the Horse” found a global audience that latched onto Mackesy’s message of empathy and shared humanity. As Mackesy wrote in...
“I was given the book by my brother at Christmas, and I remember retreating into a quiet corner, so that I could absorb the whole thing. Because it was so beautiful and so gentle and kind of profound in the illustrations,” Waller-Bridge tells Gold Derby in an exclusive video interview as part of our “Meet the Experts” composers panel. “I totally fell in love with it when I first read it.”
Waller-Bridge wasn’t alone in her feelings and in the early days of the coronavirus pandemic, “The Boy, The Mole, The Fox and the Horse” found a global audience that latched onto Mackesy’s message of empathy and shared humanity. As Mackesy wrote in...
- 11/21/2022
- by Christopher Rosen
- Gold Derby
Five top film composers will reveal secrets behind their projects when they join Gold Derby’s special “Meet the Experts” Q&a event with 2022/2023 awards contenders. They will participate in two video discussions to premiere on Thursday, November 17, at 4:00 p.m. Pt; 7:00 p.m. Et. We’ll have a one-on-one with our senior editor Christopher Rosen and a roundtable chat with all of the group together.
RSVP today to our entire ongoing contenders panel series by clicking here to book your free reservation. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Experts” panel welcomes the following Oscar and guild contenders:
The Boy, the Mole, the Fox and the Horse (Apple Original Films)
Synopsis: Follows a boy, a mole, a fox and a horse, as they create an unexpected friendship and travel together in the boy’s search for home.
RSVP today to our entire ongoing contenders panel series by clicking here to book your free reservation. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Experts” panel welcomes the following Oscar and guild contenders:
The Boy, the Mole, the Fox and the Horse (Apple Original Films)
Synopsis: Follows a boy, a mole, a fox and a horse, as they create an unexpected friendship and travel together in the boy’s search for home.
- 11/10/2022
- by Chris Beachum and Christopher Rosen
- Gold Derby
Apple Original Films has acquired international rights for the animated short film “The Boy, the Mole, the Fox and the Horse.”
After becoming the first streaming service to win the Academy Award for best picture for “Coda,” the streaming platform has its eyes set on animated shorts.
Based on the internationally bestselling book of the same name by celebrated author Charlie Mackesy, the film will be coming to Apple TV+ on Dec. 25. The BBC will premiere the film on BBC One and Player for viewers in the U.K. Tom Hollander, Idris Elba, Gabriel Byrne and Jude Coward Nicoll comprise the voice cast.
The story follows the unlikely friendship of a boy, a mole (Hollander), a fox (Elba) and a horse (Bryne) traveling together in the boy’s search for home.
“The journey of making the film of The Boy, the Mole, the Fox and the Horse with my incredibly...
After becoming the first streaming service to win the Academy Award for best picture for “Coda,” the streaming platform has its eyes set on animated shorts.
Based on the internationally bestselling book of the same name by celebrated author Charlie Mackesy, the film will be coming to Apple TV+ on Dec. 25. The BBC will premiere the film on BBC One and Player for viewers in the U.K. Tom Hollander, Idris Elba, Gabriel Byrne and Jude Coward Nicoll comprise the voice cast.
The story follows the unlikely friendship of a boy, a mole (Hollander), a fox (Elba) and a horse (Bryne) traveling together in the boy’s search for home.
“The journey of making the film of The Boy, the Mole, the Fox and the Horse with my incredibly...
- 10/10/2022
- by Jazz Tangcay
- Variety Film + TV
‘Drive My Car’, ‘Everything Everywhere All At Once’ among nominees.
The World Soundtrack Awards (Wsa) has unveiled the second and final wave of nominees for its 22nd edition, which takes place on October 22 in Ghent, Belgium.
Composers nominated for the Discovery award include Eiko Ishibashi for Ryusuke Hamaguchi’s Oscar-winning Drive My Car and Isobel Waller-Bridge for spy thriller Munich: The Edge Of War.
Also nominated is post-rock electronica band Son Lux, which worked on the score for Everything Everywhere All At Once.
Scroll down for the full list of nominations
Nainita Desai’s score for 14 Peaks: Nothing Is Impossible...
The World Soundtrack Awards (Wsa) has unveiled the second and final wave of nominees for its 22nd edition, which takes place on October 22 in Ghent, Belgium.
Composers nominated for the Discovery award include Eiko Ishibashi for Ryusuke Hamaguchi’s Oscar-winning Drive My Car and Isobel Waller-Bridge for spy thriller Munich: The Edge Of War.
Also nominated is post-rock electronica band Son Lux, which worked on the score for Everything Everywhere All At Once.
Scroll down for the full list of nominations
Nainita Desai’s score for 14 Peaks: Nothing Is Impossible...
- 9/16/2022
- by Melissa Kasule
- ScreenDaily
J.J. Abrams Behind BBC Christmas Adaptation; Idris Elba, Tom Hollander Aboard
J.J. Abrams’ Bad Robot Productions is adapting international bestseller The Boy, The Mole, The Fox and The Horse for the BBC this Christmas, with Idris Elba, Tom Hollander, Gabriel Byrne and newcomer Jude Coward Nicoll boarding. The heartfelt journey told in the novel by Charlie Mackesy will be reimagined in full color with hand-drawn traditional animation, as Abrams combines with Cara Speller of NoneMore Productions for the adaptation. Hollander will play the mole, Elba the fox, Byrne the horse and Coward Nicoll will lead as ‘the boy’. Mackesy is co-directing with Peter Baynton, co-adapting with Jon Croker and Phoebe Waller-Bridge’s sister Isobel Waller-Bridge is composing the original score. “Charlie Mackesy’s heart-warming and inspirational story brought to life through NoneMore Productions’ and Bad Robot Productions’ beautiful animation, is about the importance of love, kindness and friendship,” said...
J.J. Abrams’ Bad Robot Productions is adapting international bestseller The Boy, The Mole, The Fox and The Horse for the BBC this Christmas, with Idris Elba, Tom Hollander, Gabriel Byrne and newcomer Jude Coward Nicoll boarding. The heartfelt journey told in the novel by Charlie Mackesy will be reimagined in full color with hand-drawn traditional animation, as Abrams combines with Cara Speller of NoneMore Productions for the adaptation. Hollander will play the mole, Elba the fox, Byrne the horse and Coward Nicoll will lead as ‘the boy’. Mackesy is co-directing with Peter Baynton, co-adapting with Jon Croker and Phoebe Waller-Bridge’s sister Isobel Waller-Bridge is composing the original score. “Charlie Mackesy’s heart-warming and inspirational story brought to life through NoneMore Productions’ and Bad Robot Productions’ beautiful animation, is about the importance of love, kindness and friendship,” said...
- 6/30/2022
- by Max Goldbart and Melanie Goodfellow
- Deadline Film + TV
Korean Movies Upcoming
Cj Enm Hong Kong has secured the first and exclusive Pay TV, pay-per-view, video-on-demand and over-the-top (Ott) rights in key Southeast Asia markets to a slate of current and upcoming South Korean films. These are to play on the tvN Movies channel in Southeast Asia. Titles include: “The Roundup” (a.k.a. “The Outlaws 2”), which is currently on release and approaching the 100 million landmark; “The Witch: Part 2. The Other One,” which also opened in first place at the theatrical box office; Cj’s own “Decision to Leave,” which earned Park Chan-wook the best director award at Cannes; disaster-action film, “Emergency Declaration,” which played at Cannes last year and will have an August release in Korea; Hyun Bin and Yoo Hae-jin-starring “Confidential Assignment 2”; Don Lee-starring comedy drama “Men of Plastic,” action thriller movie Decibel, from Megabox Plus M; “A Man of Reason” (formerly “The Protector”) directed...
Cj Enm Hong Kong has secured the first and exclusive Pay TV, pay-per-view, video-on-demand and over-the-top (Ott) rights in key Southeast Asia markets to a slate of current and upcoming South Korean films. These are to play on the tvN Movies channel in Southeast Asia. Titles include: “The Roundup” (a.k.a. “The Outlaws 2”), which is currently on release and approaching the 100 million landmark; “The Witch: Part 2. The Other One,” which also opened in first place at the theatrical box office; Cj’s own “Decision to Leave,” which earned Park Chan-wook the best director award at Cannes; disaster-action film, “Emergency Declaration,” which played at Cannes last year and will have an August release in Korea; Hyun Bin and Yoo Hae-jin-starring “Confidential Assignment 2”; Don Lee-starring comedy drama “Men of Plastic,” action thriller movie Decibel, from Megabox Plus M; “A Man of Reason” (formerly “The Protector”) directed...
- 6/30/2022
- by Patrick Frater
- Variety Film + TV
Every once in a while, a film comes along that simply makes you feel good. It may not be a superlative piece of cinema, nor may it feature virtuoso performances from all involved, but it has something that well, just works and it makes the whole thing that much more enjoyable. The Phantom of the Open is precisely such a film. It is an engaging and heart-warming piece of entertainment that shines its beacon of hope over its entire running time.
The film tells the stirring true tale of one Maurice Flitcroft (Mark Rylance), a crane operator in Barrow-in-Furness who, in 1976, through a series of befuddling events, earned a place in the qualifying round of the British Open Golf Championship, even though he had never actually played the game before. Consequently, he produced the worst round in the history of the Open, incurring the wrath of the golfing establishment, while...
The film tells the stirring true tale of one Maurice Flitcroft (Mark Rylance), a crane operator in Barrow-in-Furness who, in 1976, through a series of befuddling events, earned a place in the qualifying round of the British Open Golf Championship, even though he had never actually played the game before. Consequently, he produced the worst round in the history of the Open, incurring the wrath of the golfing establishment, while...
- 6/17/2022
- by Mike Tyrkus
- CinemaNerdz
At what point does self-awareness turn inside out, to become the very thing it’s observing? “The Phantom of the Open” tries so hard to be a winking commentary on British heartwarmers about lovable outsiders. And its efforts are, as often as not, entertaining. But after a while, it becomes clear that what it wants more than anything is to be embraced as a crowd-pleasing comedy itself.
After noting that his film is based on a true story, director Craig Roberts begins at the end, with an aged Maurice Flitcroft (Mark Rylance) reminiscing about his rather extraordinary golfing career. Why was it so extraordinary? Because, we learn in flashback, it was the epitome of ordinary.
Back in 1976, Flitcroft is just an unassuming shipyard worker, raising three unassuming boys with his unassuming wife Jean (Sally Hawkins). His teen twins (Jonah and Christian Lees) want to be disco dancers, and his older...
After noting that his film is based on a true story, director Craig Roberts begins at the end, with an aged Maurice Flitcroft (Mark Rylance) reminiscing about his rather extraordinary golfing career. Why was it so extraordinary? Because, we learn in flashback, it was the epitome of ordinary.
Back in 1976, Flitcroft is just an unassuming shipyard worker, raising three unassuming boys with his unassuming wife Jean (Sally Hawkins). His teen twins (Jonah and Christian Lees) want to be disco dancers, and his older...
- 6/2/2022
- by Elizabeth Weitzman
- The Wrap
Brad Pitt, Phoebe Waller-Bridge and Lulu Wang are among 900 new members inducted into the British Academy of Film and Television Arts (BAFTA) since 2020.
The global intake also includes Akua Gyamfi, Anna Dick, Bobby Krlic, Caroline O’Neill, Fiona Shaw, Isobel Waller-Bridge, Jennifer Hampson, Kate Herron, Mark Bridges, Micheal Ward, Roger Clark, Ṣọpẹ Dìrísù, Vanessa Kirby, Waad Al-Kateab and Woody Jackson.
Individuals selected for BAFTA’s new talent initiatives, Breakthrough and Elevate, are also welcomed as new members.
On Thursday, BAFTA opened applications for its new membership tier, Connect, created for emerging and mid-level professionals across the U.K. and North America to join the academy at an earlier point in their careers.
BAFTA chair Krishnendu Majumdar said: “BAFTA continues to be committed to driving more inclusive industries and promoting unheard voices in the screen arts. Members are at the heart of everything we do and we’re always looking for talented...
The global intake also includes Akua Gyamfi, Anna Dick, Bobby Krlic, Caroline O’Neill, Fiona Shaw, Isobel Waller-Bridge, Jennifer Hampson, Kate Herron, Mark Bridges, Micheal Ward, Roger Clark, Ṣọpẹ Dìrísù, Vanessa Kirby, Waad Al-Kateab and Woody Jackson.
Individuals selected for BAFTA’s new talent initiatives, Breakthrough and Elevate, are also welcomed as new members.
On Thursday, BAFTA opened applications for its new membership tier, Connect, created for emerging and mid-level professionals across the U.K. and North America to join the academy at an earlier point in their careers.
BAFTA chair Krishnendu Majumdar said: “BAFTA continues to be committed to driving more inclusive industries and promoting unheard voices in the screen arts. Members are at the heart of everything we do and we’re always looking for talented...
- 3/17/2022
- by Naman Ramachandran
- Variety Film + TV
MTV announced that the new season of “The Challenge,” subtitled “Spies, Lies and Allies,” will premiere on Aug. 11.
For the first time, the franchise — now in its 37th season — will feature 17 international players competing alongside U.S. contestants. The season will take place on the Mediterranean coast of Croatia.
This season’s cast includes veterans Tori Deal, Nany Gonzalez, Aneesa Ferreira, Ashley Mitchell, Kaycee Clark, Amanda Garcia, Big T, Nelson Thomas, Cory Wharton, Josh Martinez, Kyle Christie, Fessy Shafaat, Ct Tamburello, Devin Walker and Nam Vo, alongside rookies Michela Bradshaw, Michele Fitzgerald, Tacha Akide, Emy Alupei, Berna Canbeldek, Priscilla Anyabu, Tracy Candela, Bettina Buchanan, Esther Agunbiade, Lauren Coogan, Corey Lay, Jeremiah White, Tommy Sheenan, Gabo Szabo, Hughie Maughan, Emmanuel Neagu, Logan Sampedro, Kelz Dyke and Renan Hellemans.
Executive produced by Dan Caster, Julie Pizzi, Emer Harkin, Ryan Smith and Danny Wascou, “The Challenge” was created for MTV by Bunim/Murray Productions.
For the first time, the franchise — now in its 37th season — will feature 17 international players competing alongside U.S. contestants. The season will take place on the Mediterranean coast of Croatia.
This season’s cast includes veterans Tori Deal, Nany Gonzalez, Aneesa Ferreira, Ashley Mitchell, Kaycee Clark, Amanda Garcia, Big T, Nelson Thomas, Cory Wharton, Josh Martinez, Kyle Christie, Fessy Shafaat, Ct Tamburello, Devin Walker and Nam Vo, alongside rookies Michela Bradshaw, Michele Fitzgerald, Tacha Akide, Emy Alupei, Berna Canbeldek, Priscilla Anyabu, Tracy Candela, Bettina Buchanan, Esther Agunbiade, Lauren Coogan, Corey Lay, Jeremiah White, Tommy Sheenan, Gabo Szabo, Hughie Maughan, Emmanuel Neagu, Logan Sampedro, Kelz Dyke and Renan Hellemans.
Executive produced by Dan Caster, Julie Pizzi, Emer Harkin, Ryan Smith and Danny Wascou, “The Challenge” was created for MTV by Bunim/Murray Productions.
- 7/14/2021
- by Antonio Ferme
- Variety Film + TV
With today’s release of Ludovico Einaudi’s “Cinema,” Universal Music Group confirms its status as one of the world’s most soundtrack-friendly music companies.
Music by Einaudi, the Italian composer and pianist, was featured in recent Oscar winners “Nomadland” and”The Father.” “Cinema” collects 28 pieces featured in those films and such earlier projects as “The Water Diviner,” “The Intouchables” and the miniseries “Doctor Zhivago.”
Each of the last seven Academy Award winners for original score was released or distributed by a Umg label or composed by a Umg artist, according to a spokesperson. Umg artists Jon Batiste and Hildur Guðnadóttir were the composers of “Soul” and “Joker,” respectively. “Grand Budapest Hotel” was on Abkco, “The Hateful Eight” and “The Shape of Water” on Decca, and “La La Land” and the “Black Panther” song album on Interscope.
Similarly, the last seven Grammy-winning scores, and the last seven BAFTA winners, were also Umg-affiliated.
Music by Einaudi, the Italian composer and pianist, was featured in recent Oscar winners “Nomadland” and”The Father.” “Cinema” collects 28 pieces featured in those films and such earlier projects as “The Water Diviner,” “The Intouchables” and the miniseries “Doctor Zhivago.”
Each of the last seven Academy Award winners for original score was released or distributed by a Umg label or composed by a Umg artist, according to a spokesperson. Umg artists Jon Batiste and Hildur Guðnadóttir were the composers of “Soul” and “Joker,” respectively. “Grand Budapest Hotel” was on Abkco, “The Hateful Eight” and “The Shape of Water” on Decca, and “La La Land” and the “Black Panther” song album on Interscope.
Similarly, the last seven Grammy-winning scores, and the last seven BAFTA winners, were also Umg-affiliated.
- 6/4/2021
- by Jon Burlingame
- Variety Film + TV
Isobel Waller-Bridge, whose film and TV work includes the scores for “Fleabag,” “Emma” and Netflix’s upcoming “Munich,” has signed a deal with Decca Publishing, the four-year-old publishing company that specializes in handling the catalogs of outside-the-box composers like Max Richter and Clint Mansell.
Waller-Bridge also recently signed with the Mercury Kx label with the intention of putting out an EP this year and a full album next year. A newly released solo piano piece, “Illuminations,” is an indication of what the composer might be putting out on her own, on top of the work she’s done for films, theatrical pieces in her native Britain and even a pandemic-era online Parisian fashion show she scored for Alexander McQueen.
Prior to meeting Decca’s EVP, Natasha Baldwin, Waller-Bridge tells Variety, “I hadn’t given publishing an awful lot of thought, which is really to my detriment, because your publishing is paramount to your work.
Waller-Bridge also recently signed with the Mercury Kx label with the intention of putting out an EP this year and a full album next year. A newly released solo piano piece, “Illuminations,” is an indication of what the composer might be putting out on her own, on top of the work she’s done for films, theatrical pieces in her native Britain and even a pandemic-era online Parisian fashion show she scored for Alexander McQueen.
Prior to meeting Decca’s EVP, Natasha Baldwin, Waller-Bridge tells Variety, “I hadn’t given publishing an awful lot of thought, which is really to my detriment, because your publishing is paramount to your work.
- 3/23/2021
- by Chris Willman
- Variety Film + TV
The Oscar race is already underway for categories devoted to below-the-line crafts — cinematography, costume design, editing, makeup and hairstyling, music, production design, sound and visual effects.
Voting began on Feb. 1 to determine a shortlist of possible nominees culled from all eligible contenders in the four craft categories that use a two-step process: score, original song, visual effects and makeup & hairstyling.
Voters have until Feb. 5 to narrow down all the contenders to a shortlist of semifinalists: 15 each in the Best Original Score and Best Original Song categories, 10 each in Best Makeup and Hairstyling and Best Visual Effects. (The shortlists will be announced on Feb. 9 ahead of the March 15 announcement of nominees.)
Here are our thoughts on what might advance in the four below-the-line categories that use shortlists.
“News of the World” (Universal Pictures)
Best Original Score
The Music Branch’s shortlists are typically short on surprises — and when those do happen,...
Voting began on Feb. 1 to determine a shortlist of possible nominees culled from all eligible contenders in the four craft categories that use a two-step process: score, original song, visual effects and makeup & hairstyling.
Voters have until Feb. 5 to narrow down all the contenders to a shortlist of semifinalists: 15 each in the Best Original Score and Best Original Song categories, 10 each in Best Makeup and Hairstyling and Best Visual Effects. (The shortlists will be announced on Feb. 9 ahead of the March 15 announcement of nominees.)
Here are our thoughts on what might advance in the four below-the-line categories that use shortlists.
“News of the World” (Universal Pictures)
Best Original Score
The Music Branch’s shortlists are typically short on surprises — and when those do happen,...
- 2/2/2021
- by Steve Pond
- The Wrap
When Anya Taylor-Joy’s “Emma” sauntered on to our cinema screens earlier this year, it wasn’t the first time audiences experienced the story of Jane Austen’s meddling heroine. Gwyneth Paltrow previously embodied the role in a 1996 film version. That original incarnation had a decent reception at the Oscars, but the 2020 update is poised to perform even better.
The 2020 adaptation from Focus Features has one major factor boosting its chances. The film debuted in theaters on February 20, 2020. That was just a couple weeks before the coronavirus pandemic shuttered movie houses around the country. “Emma” was indeed the last film I saw in theaters, and I imagine the same is true for many industry professionals. In a chaotic year where films either had to postpone a theatrical run or head straight to video-on-demand, “Emma” will likely stick out in voters’ memories as one of their final movie theater experiences of...
The 2020 adaptation from Focus Features has one major factor boosting its chances. The film debuted in theaters on February 20, 2020. That was just a couple weeks before the coronavirus pandemic shuttered movie houses around the country. “Emma” was indeed the last film I saw in theaters, and I imagine the same is true for many industry professionals. In a chaotic year where films either had to postpone a theatrical run or head straight to video-on-demand, “Emma” will likely stick out in voters’ memories as one of their final movie theater experiences of...
- 11/27/2020
- by Sam Eckmann
- Gold Derby
In a year that presents the opportunity for new and diverse voices in the awards race, another one has been added to the mix for best original score. Variety has learned exclusively that neo-classical composer Amelia Warner will helm the music for John Patrick Shanley’s “Wild Mountain Thyme” starring Emily Blunt and Jamie Dornan.
Best known for her work on Haifaa al-Mansour’s “Mary Shelley” in 2018, Warner has dabbled both in music and acting. With roles in “Quills,” “Aeon Flux” and “Winter Passing,” this film marks just her third film composition. Warner was named the breakthrough composer of the year at the 2019 International Film Music Critics Awards.
While the awards season could present a record-breaking number of women nominated in categories like best picture and director, the race for best original score is very limited for female composers. Warner hopes to break through the male-heavy list of contenders that...
Best known for her work on Haifaa al-Mansour’s “Mary Shelley” in 2018, Warner has dabbled both in music and acting. With roles in “Quills,” “Aeon Flux” and “Winter Passing,” this film marks just her third film composition. Warner was named the breakthrough composer of the year at the 2019 International Film Music Critics Awards.
While the awards season could present a record-breaking number of women nominated in categories like best picture and director, the race for best original score is very limited for female composers. Warner hopes to break through the male-heavy list of contenders that...
- 10/22/2020
- by Clayton Davis
- Variety Film + TV
It’s quite possible Jane Austen may qualify as the author whose works have been most adapted for the screen since the turn of the century. Her work continues to endure and in many ways might qualify as one of the earliest pop culture phenomenons.
The latest such effort is Emma., which Universal released just prior to the nation going into quarantine. While available to rent previously, it is now available to own via streaming with the Combo Pack coming May 19. Or, you can win our contest.
All you need to do is tell us which adaptation of an Austen work is your personal favorite and why. All entries must be submitted by 11:59 p.m., Friday, May 15. The contest is open to North American readers only and the decision of the ComicMix judges will be final.
Jane Austen’s beloved comedy about finding your equal and earning your happy...
The latest such effort is Emma., which Universal released just prior to the nation going into quarantine. While available to rent previously, it is now available to own via streaming with the Combo Pack coming May 19. Or, you can win our contest.
All you need to do is tell us which adaptation of an Austen work is your personal favorite and why. All entries must be submitted by 11:59 p.m., Friday, May 15. The contest is open to North American readers only and the decision of the ComicMix judges will be final.
Jane Austen’s beloved comedy about finding your equal and earning your happy...
- 5/8/2020
- by ComicMix Staff
- Comicmix.com
David Crow Feb 21, 2020
Here are details of the Emma. soundtrack, including some of the folk songs' origins, and Anya Taylor-Joy's thoughts on her singing scene.
The pianoforte, or the fortepiano as it is sometimes called, is an exceedingly delicate instrument to play. Comprised of just 49 keys (only a little more than half a modern piano’s), this forebear to all the keyboards that’ve come since appears like a literal blast out of the past—an 18th century sound hailing from a Florence still ruled by the Medicis. It is also a source for one of the best gags in the new Emma. adaptation starring Anya Taylor-Joy.
In one of the Jane Austen adaptation’s funniest scenes, Taylor-Joy offers an airy performance of an English folk tune while hunched melodically above her pianoforte. It’s actually an intentionally precious moment that sets up an even better one when her romantic rival,...
Here are details of the Emma. soundtrack, including some of the folk songs' origins, and Anya Taylor-Joy's thoughts on her singing scene.
The pianoforte, or the fortepiano as it is sometimes called, is an exceedingly delicate instrument to play. Comprised of just 49 keys (only a little more than half a modern piano’s), this forebear to all the keyboards that’ve come since appears like a literal blast out of the past—an 18th century sound hailing from a Florence still ruled by the Medicis. It is also a source for one of the best gags in the new Emma. adaptation starring Anya Taylor-Joy.
In one of the Jane Austen adaptation’s funniest scenes, Taylor-Joy offers an airy performance of an English folk tune while hunched melodically above her pianoforte. It’s actually an intentionally precious moment that sets up an even better one when her romantic rival,...
- 2/21/2020
- Den of Geek
That emphatic punctuation after the title — it’s technically called Emma., with a period — suggests that this gorgeously filmed, deliciously wicked, and sometimes wounding film version of Jane Austen’s literary classic may be the final word on the manipulative, matchmaking Miss Emma Woodhouse. Don’t count on it. Film versions of the writer’s fourth novel were practically a cottage industry in the mid-1990s: Gwyneth Paltrow played her on screen, Kate Beckinsale did the honors on TV and Alicia Silverstone immortally spun her into a Beverly Hills High School alpha in Clueless.
- 2/19/2020
- by Peter Travers
- Rollingstone.com
“Silly things do cease to be silly if they are done by sensible people in an impudent way,” Jane Austen wrote in “Emma,” justifying the frivolous nature of the last novel she published before her death two years later. The central purpose — maybe even the loftiest ambition — of any film adapted from Austen’s book should be to support that claim, and to do so with enough conviction to subvert the universally acknowledged truth that some works of art are more serious than others.
Enter: Director Autumn de Wilde’s lavish but loyal “Emma” (stylized “Emma.”), that dares to imagine how — on a long enough timeline — the whole of human existence might be no more important than a straw hat shaped like a fortune cookie, or a navy blue shirt popping against a mustard peacoat, or the romantic misfortunes of an unsophisticated teenage girl as they reverberate through a vain pocket of the English gentry.
Enter: Director Autumn de Wilde’s lavish but loyal “Emma” (stylized “Emma.”), that dares to imagine how — on a long enough timeline — the whole of human existence might be no more important than a straw hat shaped like a fortune cookie, or a navy blue shirt popping against a mustard peacoat, or the romantic misfortunes of an unsophisticated teenage girl as they reverberate through a vain pocket of the English gentry.
- 2/5/2020
- by David Ehrlich
- Indiewire
Jane Austen has been through a lot on screen in recent years. From watching details of her own life contorted into a romantic comedy framework in “Becoming Jane,” seeing her most enduring masterpiece invaded by the undead in “Pride and Prejudice and Zombies,” or observing the cottage merchandising and tourism industry that has sprung up in her wake in “Austenland,” one longs to imagine the saltine-dry turn of phrase she might have used to describe the splintering and commodification of her own legacy. But barring that, there’s something quite comforting in seeing her work returned to a more natural habitat: adapted into handsome, clever, faithfully unambitious films like Autumn de Wilde’s “Emma.”
As the film’s title card and poster tell us, the proper rendering of de Wilde’s “Emma” is not simply “Emma” but “Emma.” — period and all. It’s unclear why the filmmakers insisted on end punctuation,...
As the film’s title card and poster tell us, the proper rendering of de Wilde’s “Emma” is not simply “Emma” but “Emma.” — period and all. It’s unclear why the filmmakers insisted on end punctuation,...
- 2/3/2020
- by Andrew Barker
- Variety Film + TV
It didn’t take long for the post-Golden Globes dust to settle, as the weekend that followed (Jan. 11 and 12) brought more chances for Hollywood’s Oscar hopefuls to scoop up a few more trophies.
Surprisingly, there were a lot of nerves on display, too, even at the Aarp The Magazine’s 19th Annual Movies for Grownups Awards, where most of the honorees were pretty sure they were winners. That gala designed for the over-50 crowd airs tonight on “Great Performances” at 6/5c on PBS, after actually happening on Jan. 11.
Annette Bening was honored with a career achievement prize, as her husband Warren Beatty cheered her on, and Tony Danza acted as a lively and funny host for the evening.
Conan O’Brien and Adam Sandler attend Aarp The Magazine’s 19th Annual Movies for Grownups Awards (Photo by Michael Kovac/Getty Images for Aarp)
Also Read: '1917' Named Top Film...
Surprisingly, there were a lot of nerves on display, too, even at the Aarp The Magazine’s 19th Annual Movies for Grownups Awards, where most of the honorees were pretty sure they were winners. That gala designed for the over-50 crowd airs tonight on “Great Performances” at 6/5c on PBS, after actually happening on Jan. 11.
Annette Bening was honored with a career achievement prize, as her husband Warren Beatty cheered her on, and Tony Danza acted as a lively and funny host for the evening.
Conan O’Brien and Adam Sandler attend Aarp The Magazine’s 19th Annual Movies for Grownups Awards (Photo by Michael Kovac/Getty Images for Aarp)
Also Read: '1917' Named Top Film...
- 1/20/2020
- by Jenny Peters
- The Wrap
Phoebe Waller-Bridge recently revealed the surprising inspiration behind her character from her Amazon Prime series 'Fleabag'.
The British actress and writer who won the Critics? Choice Award for best comedy series on Sunday for 'Fleabag' has thanked Jennifer Lopez for inspiring her work.
Also Read:?Critics Choice Awards 2020: Brad Pitt wins 'Best Supporting Actor' award
Taking to the stage to accept her the 34-year-old actress took a moment to thank Jennifer in hr speech.
"This is a bit of a random shout-out," Phoebe said. "But you have no idea how you can accidentally inspire people just by doing your work, and somebody inspired this show in a way that you'll never know, and that's J. Lo!"
She further added "I don't know where she is, but I decided that the Priest's favorite song was 'Jenny from the Block,' and it opened the entire character up for me,...
The British actress and writer who won the Critics? Choice Award for best comedy series on Sunday for 'Fleabag' has thanked Jennifer Lopez for inspiring her work.
Also Read:?Critics Choice Awards 2020: Brad Pitt wins 'Best Supporting Actor' award
Taking to the stage to accept her the 34-year-old actress took a moment to thank Jennifer in hr speech.
"This is a bit of a random shout-out," Phoebe said. "But you have no idea how you can accidentally inspire people just by doing your work, and somebody inspired this show in a way that you'll never know, and that's J. Lo!"
She further added "I don't know where she is, but I decided that the Priest's favorite song was 'Jenny from the Block,' and it opened the entire character up for me,...
- 1/13/2020
- GlamSham
Fleabag creator and star Phoebe Waller-Bridge revealed Jennifer Lopez and dirty Latin as sources of inspiration for her hit award-winning series at the 25th annual Critics Choice Awards on Sunday.
While accepting the win for best comedy series, Waller-Bridge gave special thanks to her sister and Fleabag composer Isobel Waller-Bridge, noting that her music had "covered and elevated" the "slightly mediocre bits" of the show. The Fleabag writer went on to share that Isobel had left a little gift of sorts for the series' Latin-speaking viewers.
"She put in a little secret in for anyone who can speak Latin,...
While accepting the win for best comedy series, Waller-Bridge gave special thanks to her sister and Fleabag composer Isobel Waller-Bridge, noting that her music had "covered and elevated" the "slightly mediocre bits" of the show. The Fleabag writer went on to share that Isobel had left a little gift of sorts for the series' Latin-speaking viewers.
"She put in a little secret in for anyone who can speak Latin,...
- 1/13/2020
- The Hollywood Reporter - Film + TV
Long before the “Skip Intro” era, people have lamented the demise of the theme song. There certainly are times when the days of the wistful broadcast sitcom opening number (or even the days of theme songs that parodied them) seem firmly in the rearview mirror.
But with “Succession” Season 2 coming to a close on Sunday, the rapid rise of Nicholas Britell’s opening 90-second orchestral drum loop earworm spectacular is cause for rethinking that assumption. Maybe it’s just the law of large numbers, but even with the glut of shows that now reduce their openings to a simple title card and a “created by” credit, there are plenty of TV themes besides Britell’s worth celebrating.
Some of these fall closer to the more traditional instrumental expectations. Patrick and Ralph Carney’s opening for “BoJack Horseman” may not have any words, but it doesn’t make that heavy sax...
But with “Succession” Season 2 coming to a close on Sunday, the rapid rise of Nicholas Britell’s opening 90-second orchestral drum loop earworm spectacular is cause for rethinking that assumption. Maybe it’s just the law of large numbers, but even with the glut of shows that now reduce their openings to a simple title card and a “created by” credit, there are plenty of TV themes besides Britell’s worth celebrating.
Some of these fall closer to the more traditional instrumental expectations. Patrick and Ralph Carney’s opening for “BoJack Horseman” may not have any words, but it doesn’t make that heavy sax...
- 10/11/2019
- by Steve Greene
- Indiewire
Right after one of the biggest streaks in Emmys history, surprises reigned. On Sunday night, “Fleabag” won Best Comedy Series, beating out mainstay “Veep” and defending champion “The Marvelous Mrs. Maisel.”
Speaking to the gathered crowd at the Microsoft Theater in downtown Los Angeles, series creator and star Phoebe Waller-Bridge capped off the night, accepting on behalf of one of the night’s biggest winners. Waller-Bridge thanked, among others, cast member Andrew Scott and series composer Isobel Waller-Bridge.
The category was the last chance for long-running winner “Veep” to take home a prize, but one of the winningest series in Emmys history will go home empty this year. Last year, “Maisel” became the first series from a streaming service to win Best Comedy, paving the way for “Fleabag” (fellow Amazon Prime Video series) to join this year’s list of nominees.
This 2019 Best Comedy race was one of the most wide open in recent years,...
Speaking to the gathered crowd at the Microsoft Theater in downtown Los Angeles, series creator and star Phoebe Waller-Bridge capped off the night, accepting on behalf of one of the night’s biggest winners. Waller-Bridge thanked, among others, cast member Andrew Scott and series composer Isobel Waller-Bridge.
The category was the last chance for long-running winner “Veep” to take home a prize, but one of the winningest series in Emmys history will go home empty this year. Last year, “Maisel” became the first series from a streaming service to win Best Comedy, paving the way for “Fleabag” (fellow Amazon Prime Video series) to join this year’s list of nominees.
This 2019 Best Comedy race was one of the most wide open in recent years,...
- 9/23/2019
- by Steve Greene
- Indiewire
She may share a last name (and genes) with the hottest woman in showbiz, but Isobel Waller-Bridge is a fiery talent in her own right. Not only has the musician and composer scored both seasons of her sister Phoebe’s 11-time Emmy-nominated “Fleabag,” she’s lent her melodic ear to an episode of “Black Mirror,” scored the entirety of BBC One’s “The Split,” as well as Amazon’s critically lauded “Vanity Fair” limited series. Her latest film project hits theaters this weekend: the lush period romance “Vita & Virginia,” which chronicles the intense and intellectual love affair between Virginia Woolf (Elizabeth Debicki) and the writer Vita Sackville-West (Gemma Arterton).
“I’m such a Virginia Woolf, kind of, obsessive. And the idea of delving into her love affair with Vita Sackville-West… even though I’ve already done it, I think about it, and it’s like the dreamiest thing,” Waller-Bridge...
“I’m such a Virginia Woolf, kind of, obsessive. And the idea of delving into her love affair with Vita Sackville-West… even though I’ve already done it, I think about it, and it’s like the dreamiest thing,” Waller-Bridge...
- 8/23/2019
- by Jude Dry
- Indiewire
It’s always extra frustrating when a biopic falls short, especially if its subject is as compelling as the relationship between two brilliant iconoclasts like Virginia Woolf and Vita Sackville-West.
It’s a shame, too, that many in the audience will get their introduction to Sackville-West via “Vita and Virginia.” In reality, she was an extraordinarily complicated, trailblazing bisexual writer who lived on her own terms regardless of the price to herself or others in her orbit. Here, she comes across as a spoiled and superficial narcissist who is merely, as one character intones amid the film’s plethora of plummy accents, “rahthah hard work.”
As played by Gemma Arterton (also an executive producer), Vita is pure seductress: gorgeous and tempestuous and shockingly modern even by the most decadent standards of 1927. She’s irresistible, in other words, for the contemplative, always-questing Virginia. But Virginia’s Bloomsbury set isn’t as easily swayed.
It’s a shame, too, that many in the audience will get their introduction to Sackville-West via “Vita and Virginia.” In reality, she was an extraordinarily complicated, trailblazing bisexual writer who lived on her own terms regardless of the price to herself or others in her orbit. Here, she comes across as a spoiled and superficial narcissist who is merely, as one character intones amid the film’s plethora of plummy accents, “rahthah hard work.”
As played by Gemma Arterton (also an executive producer), Vita is pure seductress: gorgeous and tempestuous and shockingly modern even by the most decadent standards of 1927. She’s irresistible, in other words, for the contemplative, always-questing Virginia. But Virginia’s Bloomsbury set isn’t as easily swayed.
- 8/22/2019
- by Elizabeth Weitzman
- The Wrap
So few women are allowed to be cads onscreen that spotting one is as an exotic and unexpected a sight as a flamingo on the underground. Gemma Arterton’s Vita Sackville-West is one such creature – carnal and careless – Caitlin Moran’s lady sex pirate made flesh. In short…a cad. And it is a joy to behold.
As, in fact, is Vita & Virginia in its entirety. Together director Chanya Button and her (fabulous) co-writer Eileen Atkins (who penned the original play in 1992) have crafted a singular love letter to the relationship between Virginia Woolf and the delightful cad who inspired Orlando and remained her lifelong friend.
Predictably Virginia (Elizabeth Debicki) is less accessible than the irrepressible Vita, about whom we have learned scandalous intimacies within moments. They meet at a party – a gathering of the outrageous Bloomsbury set – Vita has inveigled an invitation solely to meet Virginia. Virginia remains emotionally detached from the crowd,...
As, in fact, is Vita & Virginia in its entirety. Together director Chanya Button and her (fabulous) co-writer Eileen Atkins (who penned the original play in 1992) have crafted a singular love letter to the relationship between Virginia Woolf and the delightful cad who inspired Orlando and remained her lifelong friend.
Predictably Virginia (Elizabeth Debicki) is less accessible than the irrepressible Vita, about whom we have learned scandalous intimacies within moments. They meet at a party – a gathering of the outrageous Bloomsbury set – Vita has inveigled an invitation solely to meet Virginia. Virginia remains emotionally detached from the crowd,...
- 7/5/2019
- by Emily Breen
- HeyUGuys.co.uk
The ingenious casting of Miley Cyrus elevates the surprisingly funny final installment of Black Mirror Season 5. Our review...
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This Black Mirror review contains spoilers.
Black Mirror Season 5 Episode 3
It’s fitting the Miley Cyrus was chosen to embody trapped pop sensation Ashely O in Black Mirror Season 5’s “Rachel, Jack, and Ashley Too,” as her own Disney-fied past is likely filled with similar stories of content restriction and yearning to stretch her art to darker or more adult places. However, Cyrus is also perfectly cast because the plot of “Rachel, Jack, and Ashley Too” is eerily similar to the sort of feature one could imagine Cyrus starring in back when she was under Mickey Mouse’s thumb.
Remove some of the curse words and drug content and slap a zanier score on top, and it’s not hard to imagine this exact story as the basis...
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This Black Mirror review contains spoilers.
Black Mirror Season 5 Episode 3
It’s fitting the Miley Cyrus was chosen to embody trapped pop sensation Ashely O in Black Mirror Season 5’s “Rachel, Jack, and Ashley Too,” as her own Disney-fied past is likely filled with similar stories of content restriction and yearning to stretch her art to darker or more adult places. However, Cyrus is also perfectly cast because the plot of “Rachel, Jack, and Ashley Too” is eerily similar to the sort of feature one could imagine Cyrus starring in back when she was under Mickey Mouse’s thumb.
Remove some of the curse words and drug content and slap a zanier score on top, and it’s not hard to imagine this exact story as the basis...
- 6/4/2019
- Den of Geek
[Editor’s Note: The following contains spoilers for “Fleabag” Season 2.]
Isobel Waller-Bridge had already given “Fleabag” its provocative, signature sound with a metal-inspired theme song for its first season, but for the Amazon show’s second season, she found religion. Sort of. The composer created a score of spiritual choral music that included a naughty “Fleabag” spin to it.
Created by, written by, and starring her sister Phoebe Waller-Bridge, “Fleabag” Season 2 pits its title protagonist against God when she suddenly fancies a priest (Andrew Scott), who is devoted to his calling despite his attraction to her. In conceiving the sound for this season, Isobel Waller-Bridge felt that the religious theme should serve as the inspiration.
“Musically, it definitely didn’t feel like it needed your kind of conventional score, as it were. Then because of the church theme throughout it, we thought how about we try something that is vocal and comes from a sacred place,” said Waller-Bridge.
Isobel Waller-Bridge had already given “Fleabag” its provocative, signature sound with a metal-inspired theme song for its first season, but for the Amazon show’s second season, she found religion. Sort of. The composer created a score of spiritual choral music that included a naughty “Fleabag” spin to it.
Created by, written by, and starring her sister Phoebe Waller-Bridge, “Fleabag” Season 2 pits its title protagonist against God when she suddenly fancies a priest (Andrew Scott), who is devoted to his calling despite his attraction to her. In conceiving the sound for this season, Isobel Waller-Bridge felt that the religious theme should serve as the inspiration.
“Musically, it definitely didn’t feel like it needed your kind of conventional score, as it were. Then because of the church theme throughout it, we thought how about we try something that is vocal and comes from a sacred place,” said Waller-Bridge.
- 5/29/2019
- by Hanh Nguyen
- Indiewire
One reason that the great Virginia Woolf has proven resistant to the flattening instincts of the straight-ahead, birth-to-death biopic to date is that there are so many ways into the story of her life, and each aspect seems to have its emblematic text. Stephen Daldry’s adaptation of “The Hours” with its focus on the restrictive social roles that women have historically been forced to play, took “Mrs. Dalloway” as its central motif. And now, Chanya Button’s “Vita & Virginia,” an exploration of Woolf’s (Elizabeth Debicki) 10-year, up-and-down affair with novelist and socialite Vita Sackville-West (Gemma Arterton), loosely organizes itself around the writing of “Orlando,” a novel inspired by Sackville-West in which the title character, born a man, spontaneously changes sex at about 30 years of age.
As a partial glimpse at a multifaceted personality, Button and screenwriter Eileen Atkins, drawing sometimes over-literal inspiration from the letters the pair wrote to each other,...
As a partial glimpse at a multifaceted personality, Button and screenwriter Eileen Atkins, drawing sometimes over-literal inspiration from the letters the pair wrote to each other,...
- 9/18/2018
- by Jessica Kiang
- Variety Film + TV
If you were hooked on “Fleabag,” one of the more striking British TV imports in the streaming era, odds are good it happened the first time Phoebe Waller-Bridge stared right into camera. As much as that stylistic choice came to cement Waller-Bridge’s unique connection with audiences in her home country and abroad, there was no guarantee that Fleabag’s instantly iconic fourth-wall moments would stick around.
“I always told myself the rule I had was that she only needed the camera there because she was constantly on the verge of needing to confess,” Waller-Bridge said of the character she writes and performs herself.
Confess what, exactly? Well, Season 1 of the Amazon series ends with Fleabag acknowledging an unexpected role she played in driving her best friend Boo to suicide.
“That was such a defining part of the show, looking at the camera, but I can’t bring myself, even as an actor,...
“I always told myself the rule I had was that she only needed the camera there because she was constantly on the verge of needing to confess,” Waller-Bridge said of the character she writes and performs herself.
Confess what, exactly? Well, Season 1 of the Amazon series ends with Fleabag acknowledging an unexpected role she played in driving her best friend Boo to suicide.
“That was such a defining part of the show, looking at the camera, but I can’t bring myself, even as an actor,...
- 7/6/2017
- by Steve Greene
- Indiewire
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