#and they said josh brolin and denis

[new-sandrafilter]

How Timothée Chalamet Channeled The Blockbuster Pressure of Leading Denis Villeneuve’s ‘Dune’ Back Into His Role – Venice Q&A

DEADLINE: In a few days Dune will premiere at the Venice Film Festival. You first met Denis Villeneuve about the role in May 2018 and started shooting in the early half of 2019. It was always going to be a long journey, but the pandemic stretched it even further. How does it feel to have finally arrived at this moment?

TIMOTHÉE CHALAMET: You know, I like to think that with every film I’ve done, whether it’s Call Me by Your Name or Beautiful Boy, The King, or Little Women, the character you play is almost a piece of your flesh. And that’s always true, but simply from the perspective of how long the shoot for Dune was, and also the arc that Paul Atreides is on, as well as the huge love and almost biblical connection that so many people have for the book and the original film, it really felt… tectonic, if that’s the right word for it. Just getting to this finish line feels like: phew.

And independent of what the film is now, and what it has become, the experience of making it was I was put in such a safe environment, which you can never take for granted as a human, as an actor, but especially when you’re just starting your career, and when this is the first film of this size you’ve ever done.

To get to work with Denis on it, to get to work with someone of his caliber, let alone on a book that he considers the book of his youth and one of the things he has connected to the most… When he would have it in his hands on set, his body language would become that of a fan; of a kid who had fallen in love with the book at home in Montreal. And when all the kids around him were wearing hockey jerseys with their favorite players’ names on the back, this was a kid wearing a jersey that said ‘Spielberg’ on the back.

For it all to come together, especially with the added challenge of the pandemic, it has all combined to make this moment feel especially spicy [laughs].

DEADLINE: The entire ensemble will show up in Venice.

CHALAMET: Right. And I just can’t believe it; Jason Momoa has the number one film on Netflix right now with Sweet Girl, which I just watched. And since we shot, Zendaya has had all this success with Euphoria and Malcolm & Marie. Just to be part of this cast, period, let alone as one of the title characters, it’s really the shit you dream of.

And let me not forget, too—and I know I’ve told you this before—that The Dark Knight was the movie that made me want to act. That movie had a score by Hans Zimmer, and he has done the score for Dune. And it’s almost not what you’d think. It’s totally appropriate and excellent for the movie, but he has somehow managed to do something subversive, in my opinion. It’s a pinch-me moment all over.

DEADLINE: So, take me back to the start. Is it true you had a Google alert set up to track the latest news on this project before you were ever cast?

CHALAMET: Yeah, it’s true [laughs]. Not right away—Legendary had the rights and was developing it—but as soon as Denis got involved, I set up a Google alert and that’s when I got the book.

In total honesty, I think my understanding of Dune at that point was from a graphic novel I’d seen at Midtown Comics when I was shopping for Yu-Gi-Oh! cards when I was about 10. The year you and I first met, when I was there at Deadline Contenders with Call Me by Your Name, that would have been 2017 or early 2018, and Denis was there with Blade Runner. I remember I was trying to put myself in front of him as much as possible and set up a meeting with him. We had a night at the BAFTA where one of my good friends, Stéphane Bak—who’s also an actor—saw Denis across the room and was like, “Hey buddy, he’s right over there.” So, we went over to talk to him. I kept trying to put myself in front of him, but I didn’t really get a sense of the possibility [of working with him].

I was about halfway through the book when I got the call that he was going to be the president of the jury at the Cannes Film Festival, and I was in London prepping The King. He asked me if I could come out there, so I quickly busted through the second half of the book as best I could. So, like, the first half of my copy is properly annotated and full of my thoughts, and then the second half I just raced through. And then I had that meeting with him, and it was such a joy.

I’m struggling with this even now, as I’m working with Paul King [on Wonka], because he’s another guy I have huge respect and admiration for, and it’s hard to feel on a level. Not that you ever are, because as an actor you’re a cog in the machine, and you’ve got to be humble to the vision of the director. But with Denis, he was pacing around the room, throwing ideas around, in some fancy suite in Cannes, and all I could think was that a year before I was just sat on a stoop on 9th Street in the East Village or something.

DEADLINE: Was that your first time in Cannes?

CHALAMET: Yeah. Well, bizarrely, my sister would do dance camps growing up. Ballet intensive programs in a town called Mougins, which is nearby Cannes, so I spent a lot of time there growing up, but never during the festival, and not on the Riviera. To get to be there for the festival was just nuts. I went to see the Romain Gavras movie, I think, and it was just a huge joy.

I got attached [to the role in Dune] a couple of months after that, and it was nerve-wracking from the announcement, because like I said before, the fans of the book, and the fans of David Lynch version, the computer game, and everything, there’s so much love and strength of feeling. And so much of our pop culture and films and books have been derived from Dune, and all the philosophy the book. I’ve been shocked to learn how many people have a next-level connection to the book. I compare it to how our generation grew up with Harry Potter, and that one makes sense to me. But it’s cool to see with Dune also, when you actually sit down and read it… It’s not that it’s a quote-unquote “hard read” or anything, but it’s not made to be consumed easily, I think that’s fair to say.

So, I was grateful to be working on something of this size not only with Denis Villeneuve leading it, who between Polytechnique, Incendies and Prisoners had nailed the smaller indie film across languages, and then had nailed Arrival and Blade Runner, but who, in his own words, he didn’t feel he’d made his greatest film yet. But also, to be working with this cast. I don’t know if there’s some nightmare version of a film where a young lead is not supported by the rest of his cast, where every one of them had been the leads in their own huge projects. But on this, everyone was there to support, and I think it’s because we all wanted to be foot soldiers for Denis, and I think we understood the potential, based on the script by Eric Roth, Jon Spaihts and Denis, that this could be something really special.

DEADLINE: I don’t have a connection to Dune; this movie is really my first experience of the story. What strikes me is this is clearly an enormous universe—a broad canvas being painted with various families and factions and politics and mythos—but that ultimately it comes down to very elemental, human themes, and we feel them through this character you play, Paul Atreides. Did those themes help ground the experience for you?

CHALAMET: Yes, and I would give the credit entirely to Denis. He would constantly say on set that he had some opposing drumbeat or something. In my diminished intellectual standing, I didn’t understand it, but it was like some vision for the movie based on how biblical the book is that tries to tackle so much that it doesn’t tackle anything. I think he felt the need to be close to a character in it, and Paul is that guy in the book. He’s a character that is still in formation, like a lump of clay, which makes him a great figure for the audience to mirror off.

It speaks, I think, to Denis’ premonition and his directing ability that there were times when we’d move on from a shot or move on from a scene, and I swear, literally, we’d go back because Denis wanted to get something over my shoulder, or push in on my reaction, just to make sure [it stayed on Paul].

And again, it’s something where I’m pinching myself. I had the best time on Interstellar, and that was one of my favorite films I’ve ever worked on, but it was very much something where I was aware of when I had the opportunity to do real acting. And on a movie like Dune, again, one could think it would get lost in the scale and scope. But I felt every day like my plate was full.

DEADLINE: One of those themes is fear, and Paul must overcome his to become the person he needs to be. When you are number one on the call sheet on a project of this scale, and the cast list reads like an address book of Hollywood in the 21st century, and Legendary has injected hundreds of millions of dollars into this production, and it’s all falling on your shoulders, I have to imagine fear is a theme you can readily relate to.

CHALAMET: Oh yeah, and they can bleed into each other for sure—not to diminish the other work that goes in. It’s great when your life experience can inform the role. That’s not at all to say I’m on some crusade in the universe or anything, but definitely… And I had that same good fortune with The King I think. My life is not nearly as significant or as exciting as Paul or Prince Hal, but we all share an unwitting needle in the haystack feeling. On The King that feeling was because I was so new to having a career. On Dune it’s because of, as you say, just feeling the pressure of the hugeness of the project in all those different ways. Those things can absolutely inform each other.

And then there are the moments of glee that come, too, like seeing Jason Momoa running at you at a hundred miles an hour, or just getting to shoot the shit with Josh Brolin, or getting to do a scene with Oscar Isaac. I felt so supported, whether it was Rebecca Fergusson or Charlotte Rampling. When Zendaya came, it was a total breath of fresh air, and she’s one of my favorite parts of the movie. I just got really lucky, and I can’t wait to see them all in Venice.

Denis split the book in half, and the hope is a second movie will get a greenlight. That’d expand Zendaya’s role in the story.

CHALAMET: Definitely, Chani will play a huge role in the next film. I don’t know if there’s a script yet, but just based on the book, along with Lady Jessica [Rebecca Fergusson], they have a lot to do together, let’s put it like that. And Zendaya was incredible in this movie; the moment she pulls the mask down, it felt properly showstopping and powerful. I was hiding behind the camera, counting my lucky starts, because I was there in month two of the shoot and here was a total powerhouse just coming in for the first time.

And as I said before, this was before I’d seen Euphoria and Malcolm & Marie. She’s doing such incredible work and is just trailblazing her own path, and she’s so, so cool. She also happens to be in the most-watched trailer of the moment, too, for Spider-Man: No Way Home. I cannot wait for that movie, and I was there, by the way, with everybody else, clicking through the trailer frame by frame looking for clues [laughs].

[yeahiwasintheshit]

Dune is GORGEOUS! It really looks amazing and if there was a movie that would temp me to go to a theater to see it would have been this one, but fuck that. I’m not doing that. I watched it from the comfort of my bed. Lol

It was fine. It does look really beautiful, set design, character design, the costumes are really phenomenal. the tech these people are using is really cool. They have this like dragon fly helicopter which is cool. All the visuals are outstanding which makes sense cause it’s from denis villanova (whatever), he did that new blade runner movie and that too was just so goddamn beautiful to look at, but dry. Which is exactly the same as this one. Granted it is only part one, so it’s hard to say for sure, but there was so much setting up for this whole galaxy that a good chunk is fairly boring exposition type shit, but like I said he at least makes it beautiful to look at while info dumping the political intrigues of a whole galaxy. And this movie is a political drama, the trailers and press for it do it a disservice in trying to paint it as a sci-fi adventure. It’s not, it’s fuckin political drama and it’s fuckin dry.

Performances are pretty good. Fuckin love Rebecca Ferguson as lady Jessica. She’s fantastic. The only real heart of the movie is fuckin Jason momoa, which is a shock. He has the only character that feels anywhere near human. Maybe Javier bardem and josh brolin a little less so, but timothee chalamet, who is basically playing the messiah and someone who you want to root for is playing it so emotionless, which to be fair, I’ve heard is exactly how the character, paul, is written in the beginning of the book. Like supposedly in the book he has an arc from this guy to the savior, muad’dib. But we are only watching the first part so he doesn’t do much in this one, I mean his arc is mommas boy to murderer in this one lol so i guess that’s something? Lol but that’s no excuse tho, Paul needed to be written with some more life or something, you kinda get a little glimpse right at the very beginning but idk he’s not someone who invokes any kind of charisma that the muad’dib becomes. Which I guess is the point, and will be his arc in the 2 movies, but we are only in this movie right here, right now and he ain’t doing it, and I know timothee is a really good actor so it’s clearly how it’s written.

Also if you’re completely new to this, having never seen the old movie or read the book, make sure to watch with the captions on, cause you’ll have no idea what these people are saying. This movie is set in a different world with different language so they use these words, like muad’dib and gommar job, and all these words that will mean nothing to you and even less so if the captions are not on and can’t understand what they say. You eventually get it, but the words are fuckin made up for the book.

I would recommend it tho, I have faith in Denis, that the 2 movie together will be great and would like to see the second part, so go support it! It’s almost 3 hours but it did go by pretty quick, there’s some slow parts but some really good stuff too.

[hopscotchfriday]

So we watched Dune

I will keep this short, as we may feature our review of Denis Villeneuve’s Dune in a future episode of the podcast. 

As was clear from the promotional teasers and trailer footage, this is an incredible looking film. The cast as a whole commit to their characters, with Jason Momoa’s Duncan Idaho and Rebecca Ferguson’s Lady Jessica providing much needed emotional heft to the proceedings. 

Herbert’s cosmic vision of time and space being warped throughout his series of novels is interpreted here as characters trapped by fate, and intuitively knowing they are caught, being moved about like chess pieces. 

This leads to both a feeling - much remarked upon by critics already - that the film is humourless and somewhat inert when it comes to the human drama of this space opera tragedy.  But Villeneuve also introduces some touches through the device of Paul (Timothée Chalamet) being afflicted with visions of the future that keep readers of the book on their toes. There are glimpses of a character from the novels appearing in moments that take place after they had already exited the Frank Herbert narrative. It is a nice innovation, introducing an element of doubt into just how certain Paul’s grasp over his powers of divination are, further developing and increasing due to exposure to ‘spice’. 

Oh and that is another issue. The complexity of the novels, Herbert’s use of language (I don’t believe ‘spice melange’ is ever said), everything from the borrowings from Islamic and Middle Eastern languages to the skipping over of the incredibly dense backstory to this vision of humanity’s future (it involves robots), is flattened out. Also the Orange Catholic Bible, representing the fusion of what readers might recognize as contemporary religious faiths, is not mentioned, but Josh Brolin’s Gurney Halleck is shown to be a devotee. 

Dune 2021 is a streamlined vision of a deeply weird, esoteric, kinky and psychedelic book. Oddly the film feels both meditative, but also in a hurry, racing through the betrayal of the Atreides to set up events that will be seen in the second film. 

It is interesting to me to see both Dune and Robert Jordan’s The Wheel of Time land in the same year, books I read when I was twelve. The two share certain influences (which is to say telling your Bene Gesserit apart from your Aes Sedai is more a question of setting and place), so it is interesting to see Dune praised for its narrative efficiency, while The Wheel of Time is described as overstuffed!

Hints of H.R. Giger’s vision of the Harkonnen commissioned by Jodorowsky during his failed attempt to adapt the book creep in, along with the Baron appearing to be essentially a necromancer similar to Jodo/Giger’s concept. And the would-be noble fascism of the Atreides is evidenced by Villeneuve tipping his hat to Triumph of the Will. 

So I would not praise Villeneuve for nailing the adaptation. I would say instead he has successfully made the druggy gumbo of the novel palatable to a wider audience, producing something that is both competent and commercially viable. 

And that’s....fine. 

- Emmet O’Cuana

PS: Stevie is up for watching part 2.

[skarsgardedits]

interesting conversation between denis villeneuve and christopher nolan about dune in this podcast produced by the directors guild of america. i love hearing directors talk to each other about the creative decisions of filmmaking. they talk about casting where christopher nolan says it’s a great ensemble and asks specifically about the design of the baron. from that conversation, i learned that: 

stellan was denis’ first choice for the baron (which is aw, that’s pretty cool, because i did wonder a little bit after i heard denis say in an interview that most but not all of the cast members were his first choice picks);

denis wanted to do everything practically as much as possible and limit the special effects. apparently that was fortunate because stellan would’ve said no if he had had to do the role in CGI. (he’d asked denis about the treatment before he said yes to it.) denis says with a laugh, “that's why every morning, [with] the eight hours of make-up, he never complained.” and nolan replies, “oh my goodness. eight hours.” 

then they talk a little bit more about the apocalypse now nods in the film.

after doing six hours in the make-up chair for pirates of the caribbean, which apparently was difficult enough that keira knightley says stellan couldn't really lie down on set because of the prosthetics, he probably thought this was going to be similar. but sounds like it was more difficult aha

for pirates of the caribbean, keira says, "So he had to sit around for hours in all this get-up. I couldn’t believe how he did it all with such good grace." which is very similar to dave bautista saying about stellan that even with the difficult make-up process, "i never saw him bet anything other than pleasant." infinite patience, stellan, my dude.

transcribed the excerpt under the cut (the interview starts at around 24:00 i think).

CHRISTOPHER NOLAN And the rest of the cast... as it fleshes out, it's one of those movies where the scale of the film is greatly enhanced by the scale of the cast. These new faces coming and... whether it's Jason Momoa or Josh Brolin or whatever. It's a great ensemble.

DENIS VILLENEUVE Thank you. The thing is... I had a list and this list pretty close to what we have on screen right now. Of course, some people were not... [there were] problems with schedule or something so there are some surprises for me. Some people that came on board that I wasn't thinking of but frankly, no matter what people think about the film, I think that the description... when you read the book and you read the description of the character, we are pretty close to Frank Herbert's spirit. It's a thing that I'm proud of, the casting for this movie.

NOLAN Tell us about the Baron Harkonnen. This is about Stellan Skarsgård. I mean, it's an extraordinary look. What did that involve technically?

VILLENEUVE I wanted to do as much as possible on the camera and when I asked Stellan, who was my first choice [for the role]... I asked him, "I'd love you to play the Baron." He said, "how do you want to do it?" I said, "Practically. I want to do prosthetic suit." I mean, because he would have refused if I had done it virtually. He loved the idea to be able to portray himself to be a... He didn't want to do anything [virtual]. So we agree on that. And that's why every morning, the eight hours of make-up, he never complained. (laughs)

NOLAN Oh my goodness. Eight hours.

VILLENEUVE Yeah, it was eight hours to get in that suit and the challenge was the shape. I didn't want the Baron to look like a fat baby or a grotesque character. I wanted him to be frightening. To be muscular. So with my storyboard artist, we drew hundreds of shapes. And when it came to the costume... My favorite costume of the Baron was when he was naked. I thought it was so powerful that's why the first scene... I rewrote to start with that steam bath because I need to see him at least one time naked. I thought he was so beautiful.

NOLAN And was there a conversation about Apocalypse Now at all? There's such a wonderful movement of the hand...

VILLENEUVE Marlon Brando was definitely an inspiration for the Baron and, yep. When Greig Fraser and I were brainstorming about the film... it was for us a kind of love letter to the big screen experience, the theatrical experience. The book was calling for that. The landscape. It was the story of a boy that would slowly bring the burden of his heritage and find comfort and make peace with the part of his identity as much as he is going deeper and deeper into a landscape. A bit like in some ways, the character in Apocalypse Now. There was this idea of getting inside the landscape and it becomes a more and more introspective journey. I don't do that usually but there's a lot of homages and winks to movies I deeply love, [that] as a filmmaker I admire. So there's tons of references. It was just an act of pleasure [for me].

[thecriticalbuck]

Movie Review - Dune (2021)

Denis Villenueve’s Dune, the second adaptation of the massively influential 1965 novel by Frank Herbert, sports an impressive cast, including Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Stellan Skarsgård, Jason Momoa, Josh Brolin, Zendaya, Dave Bautista, Zendaya and Javier Bardem. After almost a year long delay from its original release date, this sci-fi epic has finally reached the big screen, an event that I have eagerly awaited since the original announcement of the project. To put it shortly, I was hyped to see this film. And I cannot lie: there was no way it was going to disappoint.

This iteration of Dune is fully described in one word: epic. It’s clear just from the adaptation just how much of an influence Herbert’s original novel was on the science-fiction genre, particularly franchises like Star Wars. Villenueve captures something truly magnificent in this movie. Despite the admittedly limited setting (most of the film takes place in a desert, after all), his vision for this story is expertly crafted into something vast, beautiful and tense all at the same time. The cinematography is gorgeous; you feel like each frame filmed was made to be a potential “trailer shot”, and every second emphasizes scale and emotion in its artistry. And, as always, Hans Zimmer delivers a stellar score that distinguishes itself from many other sci-fi films. The music is hauntingly beautiful and fits the world of Dune well.

It goes without saying with this cast, but performances all around are awesome. I’ve been a little hesitant to jump on the Timothée Chalamet bandwagon, as he always came across a little too stoic in other instances I’ve seen him. And Dunestarts him that way, but he gradually gets deeper into his role as Paul Atreides, a young man, smart and kind but inexperienced, who is thrust into leadership that he does not wish to possess. My favorite performance in the film comes from Ferguson as Lady Jessica. This woman needs to be in everything, in my humblest opinion. The most vulnerability and emotion comes from her, the mother of Paul and mystical seer to his family. Jason Momoa clearly has fun being himself as Duncan Idaho, while also getting some time to flex his emotional range. Josh Brolin is always great as a hardened warrior, his performance here as Gurney similar to a more serious version of Cable from Deadpool 2. Stellan Skarsgård, despite the impressive amount of makeup and practical effects to create his look in the movie, is immediately recognizable in the best way possible, and is fantastically set up as a vicious antagonist.

I suppose this leads me to my biggest criticism of the film, which may not really be a criticism depending on the future. This movie is clearly, if not directly described as the first part of a multi-film story. This movie covers, from what I understand, roughly half of the original novel, and at least one more movie should be on the way to complete the entire plot. This partially explains what may be some issues in this movie for some. Many of the big name actors, such as Zendaya and Dave Bautista, do not receive as much screen time as you would imagine. Skarsgård’s character is clearly the immediate villain, with another looming threat teased throughout the story. However, neither come into fruition during the movie. And while the ending is certainly emotionally resonant for the character of Paul Atreides, I would be lying if I said it didn’t feel somewhat anticlimactic.

The reason these may not be problems? I haven’t seen the next Dune film from Villenueve. In a two-part story, these problems absolutely disappear, because this film wouldn’t be the ending. The other characters would have a chance to be explored and fleshed out. The villains would have more time to demonstrate their cruelty and malice. And a finale fitting of the epic-nature promised in this movie could be crafted. And so, I anxiously await the continuation of this story, a film that, as of the writing of this review, has yet to be officially announced. In the sad potential reality where we do not get a second part of Dune, this film does leave its audience hanging and its impressive cast somewhat wasted.

But I choose to believe that sad potential reality will not arrive. This movie gave me everything I was hoping for. An incredible cast and incredible performances, an artistic beauty that Villenueve always delivers in his films, lore and universe building that would make any Star Wars fan go insane, and the promise of even greater things to come. However long it takes, I will gladly await the arrival of the next installment, and enjoy what has been delivered to us thus far.

9/10

[screenwritinggym]

Sicario Beat Sheet

Directed by: Denis Villeneuve Written by: Taylor Sheridan

Genre: Institutionalized

Opening Image: The first thing we see is a definition of “Sicario”: in Mexico, it refers to a hitman.

The movie does a great job of offering information, and then giving the audience room to put the pieces together rather than spoon-feeding us. We’re given this definition, but nothing else needs to be said about it right now.

Set-Up: FBI agents Kate Macer (Emily Blunt) and her partner Reggie Wayne (Daniel Kaluuya) lead a squad of SWAT officers in a raid on a suspected Mexican cartel safehouse.

They make a gruesome discovery: dozens of decaying corpses hidden in the walls. As they’re processing this find, a booby-trapped shed explodes, killing two officers.

Catalyst: Following the raid, Kate is called in to meet with her boss, Dave Jennings (Victor Garber), and a table of other men she doesn’t recognize.

Theme Stated: At first, while waiting outside the meeting room with Reggie, he asks her: “We did this by the book, right?”

And this simple statement speaks to the theme the movie explores. The question of right and wrong, the good guys versus the bad guys… and how any war, this one in particular, can’t possibly be reduced in that manner.

Set-Up (continued): Kate is asked to join an inter-agency task force, overseen by CIA officer Matt Graver (Josh Brolin). They intend to apprehend cartel lieutenant Manuel Diaz (Bernardo Saracino), the man responsible for the bombing.

Debate (12-25): Kate readily volunteered for the task force – she wants to catch the men responsible for killing two officers on her watch. But as the Debate section continues, she begins to question that choice, and what the task force is really up to.

On a plane to El Paso, she meets Alejandro (Benicio Del Toro), who appears well-versed in the world of the cartels, but whose exact role and specialty are left undefined for Kate.

At Luke Air Force Base, they join U.S. Marshals, DEA agents, and Delta Force operators for a pre-mission briefing. Kate is surprised to learn they’re traveling to Juárez, Mexico to extradite one of Diaz’s top men, Guillermo (Edgar Arreola).

Kate’s having serious second thoughts, telling Matt, “I just want to know what I’m getting into.” Without explaining much, he reminds her that this is the fight she chose. If she wants to fight the good fight, this is where they start. Does she want to continue?

Break into Two: The team travels to Juarez and we feel the mood shift – while these American law enforcement professionals are accustomed to facing danger in the line of duty, in Juarez, the threat of danger is everywhere, permeating every facet of life.

B Story: The B-Story belongs to Alejandro, our mysterious “Company Man” in this Institutionalized tale. Who is he? What role does he play? The answers to those questions are parsed out slowly, and reinforce the theme of the story.

Fun and Games: The return border crossing is the likeliest spot for an attack and indeed – in perhaps the most tense movie sequence ever – as the team crosses the Bridge of the Americas, they are ambushed by cartel gunmen.

The team swiftly kills the gunmen and makes it safely back to El Paso. Rattled by the experience, Kate explodes at Matt for dragging her into a mission that she suspects isn’t on the level. He tells her: “Learn. That’s why you’re here.”

Later, unseen by Kate, Matt, and Alejandro torture Guillermo, learning of a cartel tunnel used by Díaz to smuggle drugs into the U.S.

Kate, Matt, Alejandro, and now Reggie, too, travel to an Arizona Border Patrol station to question detained illegal immigrants for information about a tunnel border crossing used by the cartels.

With Reggie back at her side, he and Kate confront Matt again; they want to know what the plan is, or they walk.

Matt explains the objective is to disrupt Díaz’s drug operations so that Díaz will be summoned back to Mexico by his cartel boss, elusive drug lord Fausto Alarcón.

Midpoint: The team raids a bank used by Díaz’s money launderers. Despite Matt’s warnings not to pursue it, Kate gathers enough evidence to obtain arrest warrants. But Matt refuses; he’s sticking to his plan.

Bad Guys Close In: Kate presses the issue with her boss, Jennings, but is overruled. He tells her to follow Matt’s lead, and: “If your fear is operating out of bounds, I’m telling you – you are not. The boundary has been moved.” Whether she likes it or not, they must use different tactics to fight this war.

Frustrated and needing to blow off steam, Kate and Reggie go to a bar. Kate meets local off-duty cop, Ted (Jon Bernthal), and the two flirt and dance, finally ending up back at Kate’s apartment.

All seems to be going well… until she notices a clue that ties him to the laundered money they discovered earlier. The mood turns and suddenly they’re fighting hand-to-hand. Ted overpowers Kate, choking her – until suddenly, Alejandro is there with a gun on Ted. He knew the cartel would send someone after her.

In the aftermath, Kate learns this is why Matt warned her not to go in the bank. She made herself a target, “used herself as bait.”

Alejandro and Matt “question” Ted to gather information on other corrupt cops. Later, Kate thanks Alejandro for saving her. He tells her she reminds him of someone very special to him. There’s more to that story, but this is a movie where information is doled out on a need-to-know basis, and now is not the time to reveal the rest of Alejandro’s backstory.

The next morning, Díaz is called back to Mexico to meet with Alarcón.

All Is Lost: As the team prepares for their operation, Kate argues that the FBI has no jurisdiction in Mexico. Matt dismisses her and Reggie, admitting that he’s been using her all along for the legal permission her presence provides the CIA to operate within the U.S.

Dark Night of the Soul: From hotshot team leader to completely irrelevant, Kate faces her low point. Reggie wants to walk but Kate insists on staying on the team, telling Reggie she “needs to know what they used us for.” She cannot make the choice this story requires until she has the full picture.

The special ops soldiers on this mission make it clear that Kate and Reggie are not welcome. Still, they join the raid as we hear Matt tell the others the Rules of Engagement: “weapons free.” Anything goes in this battle.

Break into Three: Into the tunnel. It’s gunfire and chaos, as planned – they’re creating a diversion so that Alejandro can sneak into Mexico undetected.

On the other side, he kidnaps one of Díaz’s mules, a corrupt Mexican police officer named Silvio (Maximiliano Hernandez). Kate attempts to arrest Alejandro, who disables her by shooting into her bulletproof vest before driving off with Silvio in his police cruiser.

Finale: Kate confronts Matt about the entire operation. Matt explains that Alejandro, who is working with the rival Medellín Cartel, has been hired to assassinate Alarcón. Finally, we learn who our Sicario is. Further, Alejandro is driven by the need to avenge his wife and daughter’s murders at the hands of Alarcon’s cartel.

In Mexico, Alejandro carries out his hit, killing Alarcon and his family at their dinner table.

The next morning, Alejandro appears in Kate’s apartment and orders her to sign a waiver legitimizing the entire operation. She refuses. But Alejandro holds his gun to her, “You would be committing suicide, Kate.”

She resists as long as she can, but finally signs the waiver. Alejandro tells her she should move to a small town, “You will not survive here. You are not a wolf, and this is a land of wolves now.”

Alejandro leaves. As he walks away, she aims her pistol at him from her balcony. Alejandro stops and faces Kate, but she is unable to pull the trigger, and he leaves.

He’s right: she’s not made for this institution, which is closing in faster than they can fight it back.

Final Image: Back in Mexico, Silvio’s widow takes their son to his soccer game. The game is briefly interrupted by the sound of gunfire before continuing as if nothing had happened.

The end of 1393 words

——————————————————————————————-

La COPIE -

16.45pm

Directed by: Denis Villeneuve

Written by: Taylor Sheridan

Genre: Institutionalized

Opening Image: The first thing we see is a definition of “Sicario”: in Mexico, it refers to a hitman.

The movie does a great job of offering information, and then giving the audience room to put the pieces together rather than spoon-feeding us. We’re given this definition, but nothing else needs to be said about it right now.

Set-Up: FBI agents Kate Macer (Emily Blunt) and her partner Reggie Wayne (Daniel Kaluuya) lead a squad of SWAT officers in a raid on a suspected Mexican cartel safehouse.

They make a gruesome discovery: dozens of decaying corpses hidden in the walls. As they’re processing this find, a booby-trapped shed explodes, killing two officers.

Catalyst: Following the raid, Kate is called in to meet with her boss, Dave Jennings (Victor Garber), and a table of other men she doesn’t recognize.

Theme Stated: At first, while waiting outside the meeting room with Reggie, he asks her: “We did this by the book, right?”

And this simple statement speaks to the theme the movie explores. The question of right and wrong, the good guys versus the bad guys... and how any war, this one in particular, can’t possibly be reduced in that manner.

Set-Up (continued): Kate is asked to join an inter-agency task force, overseen by CIA officer Matt Graver (Josh Brolin). They intend to apprehend cartel lieutenant Manuel Diaz (Bernardo Saracino), the man responsible for the bombing.

Debate (12-25): Kate readily volunteered for the task force - she wants to catch the men responsible for killing two officers on her watch. But as the Debate section continues, she begins to question that choice, and what the task force is really up to.

On a plane to EL Paso, she meets Alejandro (Benicio Del Toro), who appears well-versed in the world of the cartels, but whose exact role and specialty are left undefined for Kate.

At Luke Air Force Base, they join U.S. Marshals, DEA agents, and Delta Force operators for a pre-mission briefing. Kate is surprised to learn they’re traveling to Juarez, Mexico to extradite one of Diaz’s top men, Guillermo (Edgar Arreola).

Kate’s having serious second thoughts, telling Matt, “I just want to know what I’m getting into.” Without explaining much, he reminds her that this is the fight she chose. If she wants to fight the good fight, this is where they start. Does she want to continue?

Break into Two: The team travels to Juarez and we feel the mood shift - while these American law enforcement professionals are accustomed to facing danger in the line of duty, in Juarez, the threat of danger is everywhere, permeating every facet of life.

B Story: The B-Story belongs to Alejandro, our mysterious “Company Man” in this Institutionalized tale. Who is he? What role does he play? The answers to those questions are parsed out slowly, and reinforce the theme of the story.

Fun and Games: The return border crossing is the likeliest spot for an attack and indeed - in perhaps the most tense movie sequence ever - as the team crosses the Bridge of the Americas, they are ambushed by cartel gunmen.

The team swiftly kills the gunmen and makes it safely back to El Paso. Rattled by the experience, Kate explodes at Matt for dragging her into a mission that she suspects isn’t on the level. He tells her: “Learn. That’s why you’re here.”

Later, unseen by Kate, Matt, and Alejandro torture Guillermo, learning of a cartel tunnel used by Diaz to smuggle drugs into the U.S.

Kate, Matt, Alejandro, and now Reggie, too, travel to an Arizona Border Patrol station to question detained illegal immigrants for information about a tunnel border crossing used by the cartels.

With Reggie back at her side, he and Kate confront Matt again; they want to know what the plan is, or they walk.

Matt explains the objective is to disrupt Diaz’s drug operations so that Diaz will be summoned back to Mexico by his cartel boss, elusive drug lord Fausto Alarcon.

Midpoint: The team raids a bank used by Diaz’s money launderers. Despite Matt’s warnings not to pursue it, Kate gathers enough evidence to obtain arrest warrants. But Matt refuses; he’s sticking to his plan.

Bad Guys Close In: Kate presses the issue with her boss, Jennings, but is overruled. He tells her to follow Matt’s lead, and: “If your fear is operating out of bounds, I’m telling you - you are not. The boundary has been moved.” Whether she likes it or not, they must use different tactics to fight this war.

Frustrated and needing to blow off steam, Kate and Reggie go to a bar. Kate meets local off-duty cop, Ted (Jon Bernthal), and the two flirt and dance, finally ending up back at Kate’s apartment.

All seems to be going well... until she notices a clue that ties him to the laundered money they discovered earlier. The mood turns and suddenly they’re fighting hand-to-hand. Ted overpowers Kate, choking her - until suddenly, Alejandro is there with a gun on Ted. He knew the cartel would send someone after her.

In the aftermath, Kate learns this is why Matt warned her not to go in the bank. She made herself a target, “used herself as bait.”

Alejandro and Matt “question” Ted to gather information on other corrupt cops. Later, Kate thanks Alejandro for saving her. He tells her she reminds him of someone very special to him. There’s more to that story, but this is a movie where information is doled out on a need-to-know basis, and now is not the time to reveal the rest of Alejandro’s backstory.

The next morning, Diaz is called back to Mexico to meet with Alarcon.

All Is Lost: As the team prepares for their operation, Kate argues that the FBI has no jurisdiction in Mexico. Matt dismisses her and Reggie, admitting that he’s been using her all along for the legal permission her presence provides the CIA to operate withing the U.S.

Dark Night of the Soul: From hotshot team leader to completely irrelevant, Kate faces her low point. Reggie wants to walk but Kate insists on staying on the team, telling Reggie she “needs to know what they used us for.” She cannot make the choice this story requires until she has the full picture.

The special ops soldiers on this mission make it clear that Kate and Reggie are not welcome. Still, they join the raid as we hear Matt tell the others the Rules of Engagement: “weapons free.” Anything goes in this battle.

Break Into Three: Into the tunnel. It’s gunfire and chaos, as planned - they’re creating a diversion so that Alejandro can sneak into Mexico undetected.

On the other side, he kidnaps one of Diaz’s mules, a corrupt Mexican police officer named silvio (Maximiliano Hernandez). Kate attempts to arrest Alejandro, who disables her by shooting into her bulletproof vest before driving off with Silvio in his police cruiser.

Finale: Kate confronts Matt about the entire operation. Matt explains that Alejandro, who is working with the rival Medellin Cartel, has been hired to assassinate Alarcon. Finally, we learn who our Sicario is. Further, Alejandro is driven by the need to avenge his wife and daughter’s murders at the hands of Alarcon’s cartel.

In Mexico, Alejandro carries out his hit, killing Alarcon and his family at their dinner table.

The next morning, Alejandro appears in Kate’s apartment and orders her to sign a waiver legitimizing the entire operation. She refuses. But Alejandro holds his gun to her, “You would be committing suicide, Kate.”

She resists as long as she can, but finally signs the waiver. Alejandro tells her she should move to a small town, “You will not survive here. You are not a wolf, and this is a land of wolves now.”

Alejandro leaves. As he walks away, she aims her pistol at him from her balcony. Alejandro stops and faces Kate, but she is unable to pull the trigger, and he leaves.

He’s right: she’s not made for this institution, which is closing in faster than they can fight it back.

Final Image: Back in Mexico, Silvio’s widow takes their son to his soccer game. The game is briefly interrupted by the sound of gunfire before continuing as if nothing had happened.

The END. I copied exactly 1393 words. From 16.45pm to 17.57pm.

[thenerddimension]

Christopher Walken Joins Dune: Part 2

Though director Denis Villeneuve put Warner Bros. on blast for planning to stream Dune -- putting its chances of getting a sequel in jeopardy -- the movie was delivered with an exclusive theatrical release before it finally hit HBO Max. 

Thankfully, the movie did well at the box office and awards shows, so we’re getting the second half of the movie with Dune: Part 2. Casting rumors for the remaining characters set to appear have included some notable actors, including Florence Pugh as Princess Irulan Corrino. 

Today, it was confirmed that the legendary Christopher Walken will play Emperor Shaddam IV, ruler of the entire universe and the shadowy figure that orchestrated the attack on the Atreides complex that led to the family’s downfall -- and its heir’s ultimate ascension. 

Austin Butler, who will be playing Elvis Presley in the Elvis biopic, is reportedly playing Feyd-Rautha, the Harkonnen counterpart to Paul Atreides. 

The script is presumed complete with filming to begin this summer. Josh Brolin, who bristled with his character Gurney Halleck’s unresolved plot in the first film, said he’s read the script and understands why his character suddenly disappeared from the film. 

Dune: Part 2 is scheduled to release October 20, 2023. 

[neodemon591]

Dune Review

Dune is directed by Denis Villeneuve who helped co-write the screenplay with Jon Spaihts and Eric Roth. The film stars an ensemble cast that includes: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Stephen McKinley Henderson, Zendaya, David Dastmalchian, Chang Chen, Sharon Duncan-Brewster, Charlotte Rampling, Jason Momoa, and Javier Bardem. Based on the 1965 novel of the same name written by Frank Herbert, Dune follows young Paul Atreides (Chalamet) who journeys with his family to the desert planet Arrakis. On the planet he discovers that his family has been targeted by their enemies and must forge an alliance with the native people, The Fremen in order to fight back and bring peace to Arrakis. Many I’m sure have seen the 1984 David Lynch film that for myself did not enjoy or understand a whole lot. Fortunately, this adaptation of Dune by Denis Villeneuve is not just a visual feast for the eyes, but a smart and cohesive adaptation of the source material that kept me engaged throughout. 

The cast of this film is stacked and loaded with many talented people. Timothee Chalamet leads this film and he does it well. Known mostly for his independent film roles, this is his first big mainstream role that audiences outside the film community will see him in. He has this grace about him in his young age as an actor and here in this film you believe him as this future leader with special gifts. Everyone in this cast delivers and gives a great performance and makes the most of what they can given small amounts of screen time for some of them. Rebecca Ferguson is as always terrific as is Stellan Skarsgard who I’ll say is more menacing as the Baron here than how the character was portrayed in the 80’s film. I’ll even give a shout out to Jason Momoa for how cool his performance and character Duncan Idaho was, it fit well for who Momoa is as an actor. 

The scope of this film is huge and breathtaking and when I saw it on an IMAX screen it was quite magical for myself. The visual style, cinematography, costumes, score, and production design all should be praised for this film. Villeneuve plants you into this world and you feel like you’re a part of it as much as the characters in the film are. It’s not everyday that I can be surprised by the scope and nature of a film, but this film certainly did that and more. Hans Zimmer composes one of his best with Dune as I heard different sounds and instruments that I haven’t heard much before in film. The score you hear in the film feels like something that would fit within the universe of Dune and like the visuals helps tell the story of the film. 

This film is only part one of a two part story so some audiences may end up feeling a bit unfulfilled once the credits roll. Like it’s been said about the novel, this film can be a bit dense at times and can drag for some viewers. It can also be a bit overwhelming at times for all that is going on in the film. I am someone who was caught up in everything when watching this film and was so intrigued with the characters and everything that was going on. This is a science fiction epic come to life on the big screen while also being a coming of age story for a young man trying to do what is right for himself and his family. Denis Villenuve has made another great science fiction film and I hope to see the conclusion of this story that he has created with this film. 

[ginger1982]

The character of Paul Atreides has already been with one iconic performance, namely Kyle MacLachlan in the David Lynch film. So I am wondering, when you were preparing for the role, did you use that performance as any kind of template or inspiration or did you prefer to stay away from that as much as you could and build something that is completely your own?

Huge respect for Kyle’s performance and I love that version and I watched it about two months before we started shooting. I have been fortunate enough to work on other projects that have had prior iterations with great actors in them and I have huge respect for all of them. But when Denis Villeneuve asks you to do a movie and do his version of a movie, you forget all that and you make yourself as humble as the source material asks you to be. And I guess I just went in it like that.

This is a very epic story and your presence is very, very strong in the whole movie. So personally, what does this movie mean to you and what impact do you think it has on your career?

Simply put, this was the honor of a lifetime for me. In some way I just had to be guided, even though project size it was something I hadn’t been on before. And every person and artist I am fortunate enough to sit up here with right now, and maybe I shouldn’t admit this, but I was able to lean on each one emotionally at some point over the course of this four, five month shoot, and these are all actors who I have seen in projects that I admire and that is not actors blowing smoke, if we had more time, I could have a longer conversation about it. And now I am proud to call them my sisters and brothers with everyone up here.

I hope we get to do a second one, that would be a dream and yeah, in some way I am simply grateful for the experience of doing this. And Josh Brolin said it beautifully this morning in a different interview, when you make something the process of doing is different than putting it out. So there’s three versions of the movie, there’s the version you read, there’s the movie you make and there’s the movie the edit. And now there’s the movie we put out there so hopefully people will go see it, but this is already a dream come true.

Could you tell us a little bit more about the sandwalk and perhaps demonstrate it?

It was with one of the best choreographers in the world, Benjamin Millepied who is a director in his own right, who actually came up with this sandwalk. So I think the first video Rebecca (Ferguson) and I would have gotten was a video on him on Santa Monica Beach in Los Angeles doing the sandwalk. I’m afraid if I did it right now, I would be in rhythm and this whole room would be devoured by a sand worm. That’s a bad joke.

*I’m afraid if I did it right now, I would be in rhythm and this whole room would be devoured by a sand worm* 🤣 lol, what a dork 😘

[uomo-accattivante]

Dune will most likely move to October 1, 2021:

It seems the spice won’t flow until next year, as Warner Bros. and Legendary are moving Denis Villeneueve‘s Dune off its December release date and will unveil the epic sci-fi movie on Oct. 1, 2021, Collider has exclusively learned.

The big-budget adaptation of Frank Herbert’s iconic novel boasts an all-star ensemble including Timothée Chalamet, Zendaya, Oscar Isaac, Rebecca Ferguson, Josh Brolin, Dave Bautista, Jason Momoa, Stellan Skarsgård and Oscar winner Javier Bardem.

Dune had been slated to open on Dec. 18, but Warner Bros. recently moved Wonder Woman 1984 to Christmas Day, which seemed to complicate matters. At the time, a source told Collider that Warner Bros. was confident the marketplace could support multiple tentpoles, as it has every year around the holidays, but with no vaccine in sight, Americans have remained reluctant to return to theaters even though no new COVID-19 cases have been traced back to cinemas.

Meanwhile, MGM’s recent decision to delay the release of its new James Bond movie No Time to Die forced Cineworld to announce it will temporarily close all of its Regal Cinemas locations in America, which is still without its top-rated media market ��� New York City, where theaters have remained closed during the pandemic.

The Regal news is said to have sent shockwaves through the industry this weekend, forcing all studios to reevaluate their plans for the rest of the year. As of now, however, Warner Bros. still has WW84 on the schedule for Dec. 25, while Disney remains slated to release Pixar’s Soul in November.

The Dune delay has nothing to do with the movie itself, and Villeneuve is said to have been supportive of the decision having made it for the big screen, which is where Warner Bros. and Legendary felt it should premiere. Neither studio can afford to take a bath on Dune, so not only does this decision make financial sense for them, but it’s a health-conscious choice as well. In the meantime, you can click here to watch the trailer for Dune, and click here to check out a raft of gorgeous images from the film, which certainly looks like it’ll be worth the wait.

Of course, it doesn’t take the world’s greatest detective to figure out that Dune is now set to open on the same day as WB’s The Batman, which means that Matt Reeves‘ superhero movie starring Robert Pattinson could be on the move soon as well. Stay tuned…

Steve Weintraub contributed to this report.

###

[new-sandrafilter]

Dune may have been the biggest surprise of the short showcase. It's a title that seems to be relying on either nostalgic attachment to its original property (a book originally adapted to a movie more than three decades ago) or its star power, which includes director Denis Villenueve. While the cast boasts Jason Momoa, Josh Brolin, Zendaya, Oscar Isaac, Timothee Chalamet, David Dastmalchian, Dave Bautista, Rebecca Ferguson, Javier Bardem, and more, it is Villenueve who is not-so-secretly the true star here. Although Dune will be available on HBO Max the day of its release later this year, the marketing (and Villenueve himself) is touting it as a movie best experienced in theaters. After a long clip for the film was shown, this seems to be ringing true.

A behind-the-scenes featurette shows the many vast, practical sets. "I was instantly invested in the characters," Zendaya said early in the clip. "This movie is really kind of this heroic journey," Chalamet added. Isaac points out how many stories have been inspired by the original Dune book, referencing the likes of Star Wars and Game of Thrones. Footage shows off incredible practically built vehicles, the immersive costumes, and how scenes went from concept art to real sets. Silhouettes are seen in action sequences, lit by various colors and often surrounded by real flames, leading to Dastmalchian saying the sets made his jaw drop, with similar compliments coming from Bautista and Bardem, as well.

"It is about planet Earth and the clash of cultures," Isaac declared of the film's story. The cast and director boast about what experience it will be on the big screen. An action-packed, fiery sizzle reel rounds out the featurette. "Trust me, you're gonna have a good time," Jason Momoa concluded. This all leads to an extended clip from the film.

The clip was pretty stunning. It sees Paul Atreides (Chalamet), Duke Leto Atreides (Isaac), Gurney Halleck (Brolin), and Liet Kynes (Sharon Duncan-Brewster) on a rescue mission. The discover a plume of smoke in a vast, golden sand dune location. It is a broken down Harvester ship - a massive, rectangular vehicle which has left a trail from its path to this spot and can't move anymore. The problem is a massive worm is on its way to devour this vehicle which is no small feat, considering it could be the size of a small city block. Duke Leto is ready to spring into action to rescue the more than 30 men on board but Liet Kynes warns him that upset the worm will send it into a killing frenzy... and they only have enough space to rescue all but three of the men on board. He's determined, so Duke Leto's dragonfly-like craft stops hovering and moves closer, eventually landing. In trying to get to the men aboard the Harvester, Paul is consumed by sand in the wind, golden sparkles surrounding him and all, eventually being hypnotized by whispers and collapsing to his knees. Before long, he must rush back to his father's craft and jet out, as the worm has arrived. 

Far above the scen, a camera captures the massive worm merging from the sand below the Harvester. Slowing, everything stsrts to sink into its mouth, revealing its hundreds of teeth emerging like needles and consuming everything in its way. It's a stunning shot which seems to summarize the ambitious scope of this film which Villeneuve aimed to keep as practical as possible. This all cuts to a sizzle reel showing off many more action beats, some of which involve hand-to-hand combat with futuristic suits of armor and others see flying crafts crashing into one another and chaos ensuing. All things considered, the quality of the story is ambitious to say the least but Villenueve is making sure everyone is blown away by the visuals, at a minimum. 

[mypinkcactus]

This is super interesting:

Pablo Herrero, the Spaniard behind the DUNE trailer

Thousands and thousands of people were biting their nails on Wednesday before DUNE's trailer premiere, but few were more alert than Pablo Herrero, a Spaniard who had worked for 18 months on the first preview of one of the most anticipated films of the year. "Seeing the trailer coming out, seeing it with the audience, and above all, the reception it had, gives you a sense of pride and makes the whole journey worthwhile."

The first images of DUNE, by Denis Villeneuve and a dream cast (Timothée Chalamet, Javier Bardem, Zendaya, Josh Brolin, Jason Momoa…), overwhelmed the social media and boosted (even more) the enormous expectations of this sci-fi film. But behind those 3 minutes and 4 seconds, there’s a very long process and endless days of work.

This is how a trailer is made

(…)

The making of a trailer, for which several agencies compete until the client chooses the best one, can begin in different ways: sometimes just with the script and other times by watching the "dailies" (unedited daily footage). "The ideal scenario is when they send you a ready-made film or a preliminary one without special effects, which is how DUNE came to us," he explained.

"Then you do a 'breakdown' of the film, see what material you have and begin to elaborate on the story you want to tell. The studio analyses which strategy you want to follow to put a film on the market: how do you want to position it, who do you want to address, how do you want to present it to the world," he explained. (…)

(…) A trailer must show enough to seduce but not too much to spoil the plot: it has to leave you wanting more. "It has to tell a story that is interesting and captivating enough for people but without losing that illusion of what the film sells. That's the magic you have to maintain."

Besides, the trailer has to convince the studio but also directors, producers and even actors in some cases. "Denis Villeneuve is a director who has a lot of power and a lot to say about his movie so maybe he was more involved than other directors in this process," he said.

With Hans Zimmer

Herrero also explained that the composer Hans Zimmer did his part for the trailer. "He loved what we had done and all he wanted (...) was to take our music and change certain elements to make it closer to the soundtrack he had composed for the film," he said.

[the-real-zhora-salome]

As a Dune fan, is there a role you’d like to see Hiddleston play in part 2? Would it be more than 7 mins screen time?

Come on, in a film with an ensemble as big as this, 7 mins screentime wouldn't be bad, if you're not playing one of the lead characters!

Your question is a tricky one. I have to admit that I only ever read book one, and that was years ago. Then life got in the way and I never picked it back up (I'm working on this now, though.)

So I cannot remember all characters anymore, frankly, and had to peek at Dune Wiki myself...

To be honest, I'm not hung up on Tom being in Dune. I would LOVE it if he worked with Denis down the road, but it doesn't have to be Dune.

But I'll play, so let's see...

Under a cut for spoilers

If we're talking Dune Part 2, then I guess there aren't that many plum roles anymore.

The obvious one would be the Padishaw Emperor Shaddam IV of House Corrino. However, in the book he is quite a bit older than Tom is now. So I don't know......if Denis wanted to skew a bit younger with the Emperor, maybe. And of course there's also make up. That said, the Emperor is an arsehole. So that would be interesting. Heh.

There is one other role that is a bit more prominent in the book. He is, IIRC, the Emperor's Mentat, his name is Count Fengin (??) or something.

There also are a few key Fedaykin.....elite Fremen soldiers that form Paul's life guard. However, they are Fremen, and Denis may want to keep the Fremen cast more diverse (as he should).

The character that always gets mentioned is Feyd. But no. Not Feyd. That's..........no, I would......no, not Feyd.

And beyond that.....there comes a time in the books when Paul is an adult. But that's, like, in book four, and by that time Timothée may have aged enough to continue to play the role himself LOL

On principle, Tom could have played any of the male lead roles in Dune. He would have made a great Duke Leto......Gurney Halleck, Duncan Idaho, Stilgar.....I could have imaged him in any of these roles.

But now that I've seen the film, I cannot imagine any other actors in these roles but Oscar Isaac, Josh Brolin, Jason Momoa and Javier Bardem.

[elves-n-angels]

Josh Brolin, Don Cheadle, Sebastian Stan in Talks to Star in Steven Soderbergh’s Next Film

Marvel men Josh Brolin, Don Cheadle and Sebastian Stan are in discussions to star in Steven Soderbergh‘s next film, which is a 1950s crime drama titled Kill Switch, sources tell Collider.

Ed Solomon (Men in Black) wrote the spec script, which would cast Brolin, Cheadle and Stan as criminals who carry out a home invasion, only to wonder if they’ve been double-crossed. Casey Silver is producing the film, which is expected to begin shooting next summer. The projectwill soon be shopped to studios, and interest around town is said to be high given the starry cast, the strength of the screenplay, and Soderbergh’s status as an Oscar-winning director.

Soderbergh is coming off a pair of Netflix movies — High Flying Bird, which explored the business of basketball, and The Laundromat, which examined the story behind the Panama Papers. Soderbergh also produced Scott Z. Burns‘ directorial debut The Report, and because he seems to never sleep, he has already wrapped his next directorial effort Let Them All Talk, which stars Meryl Streep, Gemma Chan, Lucas Hedges, Candice Bergen and Dianne Wiest. Soderbergh also found the time to serve as an executive producer on Bill & Ted Face the Music, which was co-written by Solomon, with whom he previously worked on the ambitious HBO series Mosaic.

Brolin just wrapped Denis Villeneuve‘s Dune and the Oscar-nominated actor will soon be seen in Sean Penn‘s indie movie Flag Day. He’ll also voice Thanos once again in an upcoming episode of the Disney+ series What If…? Beyond that, his 2020 shooting schedule is fairly open at the moment, though he is developing a movie that would pair him with Peter Dinklage, as well as a TV series in which he’d play a fictional version of himself.

While Cheadle’s big screen appearances been limited to the MCU in recent years, the Oscar-nominated actor has been hard at work on the small screen, as he stars on Showtime’s Black Monday, and he’ll soon be seen in Ryan Murphy‘s Netflix series Ratched. Cheadle also has a role alongside LeBron James in Space Jam 2.

In addition to playing Bucky Barnes, aka Winter Soldier, in the MCU and the upcoming Disney+ series The Falcon and the Winter Soldier, Stan has recently starred in I, Tonya and Karyn Kusama‘s crime thriller Destroyer. He has four films on the horizon including the war movie The Last Full Measure, Simon Kinberg‘s action-thriller 355, Antonio Campos‘ thriller The Devil All the Time, and the indie romance Monday.

Brolin is represented by CAA, while Cheadle is repped by UTA. Stan is repped by ICM Partners and Brookside Artist Management. Publicists for Brolin and Cheadle did not respond to requests for comment.

From Collider.

[abduloki]

DUNE 2020

The first step of a hero’s journey sometimes begins with a push.

A young royal, Paul Atreides prepares to leave the comfortable life he knows for a desolate, dangerous mining planet known as Arrakis, where his wealthy family will oversee extraction of a spice vital to the galaxy. If he only knew the chaos and death that awaited him, he might be even more sorry to leave.

Why I’m excited for it

I’ve always been interested in sci-fi space genre films like Star Wars and Star Trek and cyberpunks like Blade Runner and Altered Carbon so I’m looking forward to this. Furthermore, I really enjoyed Timothee Chalamet performance in Netflix’ The King and the fact that it’ll be directed by the director of Blade Runner 2049  with casts like Oscar Isaac, Josh Brolin and Jason Momoa, it makes it more epic.

While I know there’s already been a Dune 1984 which I haven’t watch, that didn’t stop me from enjoying Netflix’s Lost in Space 2018 which was also preceded by the original 1965 film which I didn’t watch either. The thing about Netflix’s Lost in Space is it’s breathtaking scenery and cinematography which I have no doubt  Denis Villeneuve will nail just as well just as he did with Blade Runner 2049.

What it’s about

For those who do not know what Dune is about (like me), it’s about a hero named Paul Atreides, a child of privilege raised by a powerful family, but not one strong enough to protect him from the dangers that await.

As the Atreides family leaves the oceanic world of Caladan to take over scorching Arrakis, they are also becoming prey to the brutal rival House Harkonnen, which seeks to exploit the desert world they are about to inherit. House Atreides is just one more part of the landscape to annihilate.

“The immediately appealing thing about Paul was the fact that in a story of such detail and scale and world-building, the protagonist is on an anti-hero’s-journey of sorts,” Chalamet said.

In other words, he’s not dreaming of adventure. He’s resisting it. Afraid of it.

“He thinks he’s going to be sort of a young general studying his father and his leadership of a fighting force before he comes of age, hopefully a decade later, or something like that.” Chalamet said. But fate has a different timetable for him. And he may possess powers even his trainers could not anticipate.

In the shot above, the transport ships descend to take the Atreides leadership to their new destination. At this point, Paul is being taught the ways of war by a veteran soldier named Gurney Halleck, played by Josh Brolin. 

Paul’s parents, Duke Leto and Lady Jessica Atreides (Oscar Isaac and Rebecca Ferguson), must not only manage the spice mining on Arrakis—but also the politics at play in the broader galaxy.

Beyond the fortifications on Arrakis, giant carnivorous sandworms rule the landscape, while a tribe of indigenous humans known as Fremen, led by Javier Bardem’s Stilgar, somehow survive in the crevices, fearful that their world is about to be turned inside out by those they see as invaders.

When to watch it

Dune, still set to open on December 18, is one of the blockbusters that hasn’t yet shifted back due to the coronavirus outbreak. 

For more on Dune, see Vanity Fair on Tuesday.

EDITED:

Vanity Fair new photos gives a Rogue One/Blade Runner 2049 vibes. 

Timothée Chalamet (Paul Atreides) and Rebecca Ferguson (Lady Jessica, Paul’s mother, also below in hood)

Oscar Isaac (Duke Leto, Paul’s father)

Josh Brolin (Gurney Halleck)

Zendaya (Chani)