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I've decided to stop posting on this blog not because I no longer like EH but because the effort of putting out quality content on here isn't rewarding. Over the years I've only found two other people I was able to fangirl with and I get it, everyone's busy with their lives so that's the direction I'm taking with my own. I can leave the blog as is and not delete it at all or I can delete it altogether; tell me which you'd prefer in the comments section.

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Ed Harris as Bud Brigman in The Abyss (1989)

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Hey is ed Harris sick, I don’t know but I think I read he had cancer sometime in the past? Have a good day!

Not that I know of.

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Nicole Kidman & Ed Harris by Bruce Weber for Interview Magazine, 2003.

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Ed Harris Rumour Update From Insider

This new report also comes with an update on the recent rumour that actor Ed Harris is also up for a role in Marvel Studios’ Wonder Man series, with an update from Daniel Richtman inside the thread of the same report.

One commenter asks Richtman “Is the rumour about Ed Harris being up for a role true?”, to which Richtman responded with “Yes”. However, details on who Ed Harris could be up for playing in the MCU were not provided on Richtman’s Patreon, just a subtle “Yes” to reportedly validate the recent rumours.

Wonder Man is currently expected to release in late 2023 or sometime in 2024, no release date has been announced as of writing this article.

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Westworld | 4x05. Zhuangzi

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Ed Harris as William in Westworld 4.05: Zhuangzi.

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Top Gun: Maverick + TRIVIA

“It blew the roof off the guard station,” Harris tells USA TODAY with a chuckle. “It was a fun scene with the jet roaring over my head. I was just holding my ground knowing what to expect. It’s really impressive seeing this jet coming at you from so far away and just flying right over your head.”

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Jessica Lange in film produced by Cyprus-based film company

Cyprus-based production company Fetisoff Illusion – Europe is co-producing a screen adaptation of Eugene O’Neill’s Pulitzer prize-winning play Long Day’s Journey Into Night, starring Jessica Lange, Ed Harris, Ben Foster and Colin Morgan.

This will be British theatre and opera director Jonathan Kent’s feature directorial debut. He also directed Jessica Lange in a production of the play on Broadway in 2016, which won her a Tony award.

According to Deadline, double Academy Award and five-time Golden Globe winner Lange will portray the “troubled, emotionally fragile and addiction-plagued Mary Tyrone” while four-time Oscar nominee Ed Harris will play her husband James, “a celebrated actor but failed property magnate – and a man with fears and regrets deeply rooted in his impoverished beginnings”.

Fetisoff Illusion-Europe is a production company based in Cyprus. Its founder Gleb Fetisov is known for producing Cannes Jury Prize winning 2017 Loveless as well as his involvement in other film projects such as Jon Favreau film Chef (2014).

Filmed on location in County Wicklow, Ireland, Long Day’s Journey Into Night is financed by Magnoliamae Films, BKStudios, Brouhaha Entertainment and Fetisoff Illusion. It is produced by Gabrielle Tana (Philomena), Bill Kenwright (Cheri) and Gleb Fetisov.

Filming has wrapped on the project, which is now in post-production and expected to premiere at the Toronto Film Festival in autumn.

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Filming Eugene O’Neill When the Elements (and Investors) Don’t Cooperate

Starring Jessica Lange and Ed Harris, Jonathan Kent’s adaptation of “Long Day’s Journey Into Night” started production, only to lose key financing.

WICKLOW, Ireland — “Strong winds, gradually subsiding” read the call sheet.

Jessica Lange, Ed Harris, and Jonathan Kent, the director of the forthcoming film version of Eugene O’Neill’s “Long Day’s Journey Into Night,” were standing in a rehearsal room here in early November, listlessly running through lines. Harris, playing James Tyrone, an aging former matinee idol, touched his toes and did squats as he spoke, while Lange, playing his fragile, morphine-addicted wife, Mary, flitted distractedly around the room.

Producers and assistants, phones glued to ears, bustled in and out, anxiously monitoring the stormy weather that prevented the cast and crew from heading to the set: a house modeled on the Monte Cristo Cottage in Connecticut, the seaside home of O’Neill’s family that provides the setting of this autobiographical play.

The go-ahead came several hours later. The shoot finished close to midnight as Kent and the cast tried to push through the day’s packed schedule.

It wasn’t the first storm the production had weathered, literally and metaphorically. One day after filming began on Sept. 19, the lead producer, Gabrielle Tana, discovered that their biggest chunk of financing had fallen through. “I had to go to the set and tell them we were shutting down,” she said.

Tana (whose credits include “Thirteen Lives” and “The Dig”) said it was one of the worst moments of her long career. “I let them know I wasn’t giving up, and was already in conversations with investors,” she said.

During the nail-biting weeks that followed, she spent endless hours in meetings trying to drum up the money. Remarkably, the cast — including Ben Foster and Colin Morgan, playing the Tyrone sons — as well as most of the crew and production team, never wavered in their commitment to the project. A handful of staff members, including the director of photography and some production design workers, weren’t able to stay with the production. The rest waited it out in this coastal region about an hour south of Dublin.

“We were shocked at first, of course,” said Lange, who played Mary Tyrone in 2000 in London, and won a Tony Award for the role in a production directed by Kent that transferred from the West End to Broadway in 2016. “But never once did we think it wasn’t going to happen. We just hung in, went to the pub, took long walks. We really became friends and cared deeply for one another, because we were going through the same thing.” She added, “I think that in some way it added to our intensity and passion for doing this.”

Three weeks of waiting to restart, Harris said, allowed him “to sit back, think about the character, calm down, and just be this dude rather than worrying about playing such a classic, important role.”

The actors also made calls. Foster made a connection to the British theater producer Bill Kenwright, who had worked with Lange on productions of “Long Day’s Journey,” “A Streetcar Named Desire” and “The Glass Menagerie” in the West End and on Broadway.

“I knew we would figure it out,” Foster said. “If we had to do it as a sock puppet show, we’d do that till we raised the money.”

The sock puppet show was averted; Kenwright came through. “He was our knight in shining armor,” Tana said. A few other knights had to be found too, including the film producer Gleb Fetisov.

First adapted for the screen in 1962, “Long Day’s Journey” is Kent’s debut feature. “This is, probably, the greatest American play, the invention of the dysfunctional family drama, and when you do it in the theater, there is a sort of reverence from the audience,” Kent said. “I thought that perhaps with film, one could shred that reverence a bit and allow its rawness and immediacy through.”

Then he factored in current events that coincided, like the opioid epidemic and the coronavirus lockdown. “Here are these four, addicted not just to drugs and alcohol, but to each other, endlessly going over the past, the missed opportunities and failure, trapped in a house by the sea,” he said. “Somehow it felt resonant.”

Lange said that she and Kent first talked about a film version during the Broadway run. “I immediately thought, yes!” she said, adding that Mary Tyrone “gets under your skin like no other character I have ever played; you never come to the end of it. And because of the nature of filmmaking, there is so much more subtlety that can be brought to light: the expression in the eyes, the subtle shift in the voice.”

Tana first heard about the idea when the actor Ralph Fiennes, a friend of Kent’s, asked her to help with the project, which is scheduled for release this fall. She was intrigued and engaged the Pulitzer Prize-winning playwright David Lindsay-Abaire — his “Good People” had been directed by Kent — to adapt the drama, which needed to shrink from an almost-four-hour theatrical event to an under-two-hour film.

“There was never an agenda of ‘Let’s improve this,’” Lindsay-Abaire said in a video call from New York, adding that there isn’t a word of text in the film that wasn’t written by O’Neill. “It was the opposite: Let’s maintain what we love while telling the story in a different medium. It wasn’t using a machete as much as a scalpel. We took the dramatic Hippocratic oath: Do no harm to O’Neill!”

Film, he pointed out, has communication tools that the stage doesn’t have. “You can sometimes replace four lines with a close-up,” he said. “We kept asking, does the character need to say that, or can they just act it?” He and Kent also discussed ways to make the drama more cinematic, by withholding some information that O’Neill reveals early. “Ghosts, hauntings, what is Mary doing up there? We wanted to lean into some mystery, to hint at things and reveal them more slowly,” Lindsay-Abaire said.

Gabriel Byrne, who had starred opposite Lange onstage, was slated to reprise the role, but he fell out due to scheduling conflicts. Tana emailed Ed Harris, who had appeared with Lange in the movie “Sweet Dreams” almost 40 years earlier. He said yes immediately. “As tough as it was when the money fell out, it was the most rewarding film acting experience I’ve had in quite a while,” Harris said. Kent, he added, “gave us the freedom to just be those people — that it wasn’t a sacred text, that this was about human beings, not a dried-up historical piece.”

Kent said that he had considered updating the 1912 setting, but had decided that too many fundamental details would have to be altered. Still, “to the designer’s chagrin, I asked that the costumes not be too ‘period,’” he said. “Whatever the setting, the text makes it a living, contemporary thing.”

Two weeks of rehearsal before the start of the shoot allowed the four main actors to begin to build a family dynamic. “I immediately fell head over heels for my parents,” Foster said, adding that he had brought some foraged greenery from the actual Monte Cristo cottage as a talisman.

“The rehearsal time was all about finding out what might work for character,” Morgan said. “A director who isn’t as theater-versed as Jonathan might work out camera angles first, then what the character does within. But I think the best directors work so that the camera is actor-led, and that’s how Jonathan approached it.”

Then, almost immediately, came the hiatus and a roller coaster of emotions. “The bonding of that time was actually wonderful,” Foster said. “Historically I don’t socialize a lot with fellow actors. But in this case, it really did become a family.”

The difficulty of making the film, Tana said, is indicative of the changing cinematic landscape. “It’s really hard now to make this kind of literary, straightforward, old-school independent movie,” she said. “There is so much value to this: these great, great actors doing a great American play that every kid studying literature will be able to watch. But it’s a sea change moment in our field in the way we access content, how it is monetized, where the resources are.”

Kent agreed that the film goes against the current grain, but added: “We all have mothers, fathers, our terrible sense of failures and disappointments and guilt. I think what we crave from film or theater is truth about our human experience. There is an audience for that.”

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Ed Harris and Jessica Lange in Long Day’s Journey Into Night (2023)

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Ed Harris at PaleyFest Los Angeles 2017 - 'Westworld' at Dolby Theatre in Hollywood, California.

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MGM Repping Sales On ‘Long Day’s Journey Into Night’ With Jessica Lange, Ed Harris, Ben Foster & Colin Morgan

As we reported Monday, filming has wrapped on the under-the-radar screen adaptation of Eugene O’Neill’s Pulitzer prize-winning play.

Well known British theater and opera director, Jonathan Kent, has made his feature directorial debut on the project, which filmed in Ireland. Above is a first image from the production.

The project sees double Academy Award and five-time Golden Globe winner Lange reprise her 2016 Tony-winning Broadway role, also directed by Kent. She portrays the troubled, emotionally fragile and addiction-plagued Mary Tyrone. Four-time Oscar nominee Ed Harris is her husband James, a celebrated actor but failed property magnate – and a man with fears and regrets deeply rooted in his impoverished beginnings.

Foster will play their wayward, charming and hard-drinking elder son, Jamie. And Colin Morgan (Belfast) is the bleakly optimistic and consumptive younger son, Edmund – a portrait of O’Neill himself. David Lindsay-Abaire (Poltergeist) adapted the play for screen.

Set on one single day in August 1912 at the family’s Connecticut seaside home, the story follows the Tyrone family as it faces the looming dual spectres of Edmund’s potentially fatal consumption diagnosis alongside his mother Mary’s increasingly fragile and anxious state of mind. The family knows that the situation threatens to return her to the severe morphine addiction that was only recently overcome.

Filmed on location in County Wicklow, Ireland, the film is financed by Magnoliamae Films, BKStudios, Brouhaha Entertainment and Fetisoff Illusion. It is produced by Gabrielle Tana (Philomena), Bill Kenwright (Cheri) and Gleb Fetisov (Loveless).

As first reported by the Irish Times, filming was briefly halted after just a few days when a financier unexpectedly exited the project but we’re told those issues were resolved soon after when BKStudios stepped in.

Executive producers are BKStudios’ CEO, David Gilbery (The Lost Daughter), and head of production is Naomi George (My Pure Land). The film is co-produced with Redmond Morris and his Irish production company Four Provinces Films.

Director of photography was Mark Wolf with production design by Anna Rackard and costume design by Joan Bergin and Jane Greenwood.

Eugene O’Neill’s classic play has been adapted multiple times for the big and small screen including versions by Sidney Lumet and Jonathan Miller.

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First look at Jessica Lange and Ed Harris as Mary and James Tyrone in Jonathan Kent’s adaptation of Long Day’s Journey Into Night (2023)

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Jessica Lange & Ed Harris Wrap New Movie Version Of ‘Long Day’s Journey Into Night’

Filming has wrapped on an under-the-radar screen adaptation of Eugene O’Neill’s Pulitzer prize-winning play, Long Day’s Journey Into Night, starring Jessica Lange, Ed Harris, Ben Foster and Colin Morgan.

Well known British theater and opera director, Jonathan Kent, has made his feature directorial debut on the project, which has been filming in Ireland. Above is a first image from the production.

The project sees double Academy Award and five-time Golden Globe winner Lange reprise her 2016 Tony-winning Broadway role, also directed by Kent. She portrays the troubled, emotionally fragile and addiction-plagued Mary Tyrone. Four-time Oscar nominee Ed Harris is her husband James, a celebrated actor but failed property magnate – and a man with fears and regrets deeply rooted in his impoverished beginnings.

Foster will play their wayward, charming and hard-drinking elder son, Jamie. And Colin Morgan (Belfast) is the bleakly optimistic and consumptive younger son, Edmund – a portrait of O’Neill himself. David Lindsay-Abaire (Poltergeist) adapted the play for screen.

Set on one single day in August 1912 at the family’s Connecticut seaside home, the story follows the Tyrone family as it faces the looming dual spectres of Edmund’s potentially fatal consumption diagnosis alongside his mother Mary’s increasingly fragile and anxious state of mind. The family knows that the situation threatens to return her to the severe morphine addiction that was only recently overcome.

Filmed on location in County Wicklow, Ireland, the film is financed by Magnoliamae Films, BKStudios, Brouhaha Entertainment and Fetisoff Illusion. It is produced by Gabrielle Tana (Philomena), Bill Kenwright (Cheri) and Gleb Fetisov (Loveless).

As first reported by the Irish Times, filming was briefly halted after just a few days when a financier unexpectedly exited the project but those issues were resolved soon after when BKStudios stepped in.

Executive producers are BKStudios’ CEO, David Gilbery (The Lost Daughter), and head of production is Naomi George (My Pure Land). The film is co-produced with Redmond Morris and his Irish production company Four Provinces Films.

Director of photography was Mark Wolf with production design by Anna Rackard and costume design by Joan Bergin and Jane Greenwood.

Eugene O’Neill’s classic play has been adapted multiple times for the big and small screen including versions by Sidney Lumet and Jonathan Miller.

Lange is repped by CAA and Untitled Entertainment; Ed Harris by CAA and Ziffren Brittenham LLP; Ben Foster by United Talent Agency; Colin Morgan by United Agents.

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Westworld Season 5 Not Happening As HBO Cancels Show

Westworld season 5 is officially not happening as HBO announces they are canceling the critically acclaimed sci-fi drama series.

HBO has decided to cancel Westworld following the conclusion of season 4 in August. Developed by Person of Interest alum Jonathan Nolan and his partner Lisa Joy, the series is an expanded adaptation of Michael Crichton's film of the same name revolving around the titular amusement park in which the androids populating the area begin to turn on the human guests. Evan Rachel Wood has led the cast of all four seasons of Westworld alongside Thandiwe Newton, Ed Harris, Jeffrey Wright, Tessa Thompson, Luke Hemsworth, Aaron Paul, Angela Sarafyan and Anthony Hopkins.

Following the generally divisive response to season 3 of the show, Westworld season 4 picked up seven years after the events of its predecessor in which humanity has lost the war against hosts and the faux Charlotte Hale taking control of the world and deploying a bioengineered virus that allows humans to come under control of hosts' orders. The season also saw a major time jump in which humanity is struggling to bounce back with the help of Maeve, who survived her previous confrontation with Charlotte, Stubbs and Bernard, who has potentially found the best course to save both humanity and hosts. Though not hitting the same critical heights of its first two seasons, Westworld season 4 scored more favorable reviews than its predecessor and ended with an ambiguous cliffhanger going into a planned season 5, though audiences eager to see the final chapter are getting some devastating news.

The Hollywood Reporter has brought word that HBO has officially canceled Westworld, shocking leaving the show without a season 5. Nolan and Joy had previously expressed their hopes to wrap the show up with one more season, even having reportedly been in talks to return, though the network has elected to have season 4 serve as its last. Check out the statement that HBO released below:

Over the past four seasons, Lisa and Jonah have taken viewers on a mind-bending odyssey, raising the bar at every step. We are tremendously grateful to them, along with their immensely talented cast, producers and crew, and all of our partners at Kilter Films, Bad Robot and Warner Bros. Television. It’s been a thrill to join them on this journey.

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Production resumes on Wicklow film starring Jessica Lange and Ed Harris after financial difficulties resolved

Work has resumed on the filming of A Long Day’s Journey into Night after a delay last month because of financial difficulties.

The filming of Irish-American playwright Eugene O’Neill’s Pulitzer Prize-winning 1956 play, starring Jessica Lang and Ed Harris, is happening in Co Wicklow.

However, production at Ardmore Studios in Bray, as well as at a specially built New England-style house at Magheramore beach south of Wicklow town, was brought to a sudden halt after only a few days last month when funds to pay crew ran dry.

Those behind the production declined to discuss the financial difficulties at that time but several people contracted to work on the film told The Irish Times they had not been paid and feared they might never be.

That has now changed, however.

Bill Kenwright, a London-based film and theatre director, has agreed to refinance production through his BK Studios film and TV production operation and is being represented on A Long Day’s Journey by Naomi George, an executive producer in film and TV at Bill Kenwright Ltd.

Word that the film’s financial problems had been resolved was relayed to debtors earlier this month and production resumed last week as people began to be paid.

“I got paid and so did everyone in the section I was working in,” said one source, who declined to be identified.

Cash flow financial problems are apparently extremely rare once a film goes into production. Last month, shocked film crew members were told on set that there was no money to pay them for work done over several weeks during the pre-production phase of making the film.

The film set at Magheramore Beach area of Wicklow, featuring a New England-style house. Photograph: Nick Bradshaw

Despite assurances that talks were taking place to resolve the problem, they declined to work further until paid and production ground to a halt as the producer, the acclaimed director and filmmaker, Redmond Morris worked to obtain alternative source of finance.

Mr Morris did not respond to efforts to contact him and a representative of the production on site in Bray declined to discuss matters. It is not known what precisely led to the cash flow problem.

“I really felt for them,” said one source who has now been paid. “It’s obviously the worst nightmare for a producer and well done them for getting it up and running again. No mean feat.”

Word that the film’s financial problems had been resolved was relayed to debtors earlier this month and production resumed last week as people began to be paid.

“I got paid and so did everyone in the section I was working in,” said one source, who declined to be identified.

Cash flow financial problems are apparently extremely rare once a film goes into production. Last month, shocked film crew members were told on set that there was no money to pay them for work done over several weeks during the pre-production phase of making the film.

Despite assurances that talks were taking place to resolve the problem, they declined to work further until paid and production ground to a halt as the producer, the acclaimed director and filmmaker, Redmond Morris worked to obtain alternative source of finance.

Mr Morris did not respond to efforts to contact him and a representative of the production on site in Bray declined to discuss matters. It is not known what precisely led to the cash flow problem.

“I really felt for them,” said one source who has now been paid. “It’s obviously the worst nightmare for a producer and well done them for getting it up and running again. No mean feat.”