#steven zallian

[ilikethisacompletelynormalamount]

panavisionofficial

“Yeah, I can't remember what we shot with. I have to call Erik Brown. He's my lifeline,” jokes legendary #DOP Robert Elswit ASC, as we sat down to discuss Ripley.

“I've worked with [director] Steven [Zaillian] before, and like all cinematographers, he believes that the way something's lit is actually a way to affect people's emotions. There are a lot of directors who actually don't believe that, but Steven is one of those who feels very strongly that there's an emotional message that the lighting in a movie delivers.

I had a copy of the Patricia Highsmith series of the latest series of Ripley books with these beautiful covers and black and white images, and Steven said that as he was writing, he just saw the whole thing in monochrome. As we got more into it, and as I read the script, I realized that a big part of the agenda of the backstory is Caravaggio. Steven and I would talk about how Caravaggio invented the whole idea of how the light is playing an emotional, dramatic purpose in his paintings. What was lighting the people and the objects in the room was very selectively realized— faces, arms, gestures—all almost theatrical looking. The lighting dominates the color palette. It dominates even the design in places. There are strong graphic images, but even if you look at them in black and white, which we were in the series, it's all about the light, which is actually a line that one of the characters says.

I didn’t want [lenses] that were too sharp and I think that's something that Dan [Sasaki] reacted to. He made something that was wide open but with no greasy, sharp, surveillance photography look. I don't know how [Dan Sasaki] does it, but we shot the whole series with just five lenses. Then there are the zooms that he made when we did the water scenes.

You can't make something like Ripley look like Ripley unless everybody's all in. It's the production, it’s [production designer] David Gropman, the great costume designers on the show, Gianni Casalnuovo and Maurizio Millenotti. Their sense of understanding of what tonal structure meant, and how to achieve an interesting kind of contrast of pictorial style in this series was essential."

[happy-mokka]

Ripley

Today I finished binge-watching "Ripley" on Netflix.

I already liked Andrew Scott as an actor over the course of the last 10 years or so. He was brilliant as Moriarty in Sherlock.

But with "All of Us Strangers" he blew me away and so it was never really a choice not to watch "Ripley" after it was announced on Netflix.

My resume?

I love it.

It is shot entirely in black and white, perfectly conveying the charm of the 40s to 60s film noir productions. Maybe it feels even more like the old European pieces than one from Hollywood of that era. Not only because it is situated completely in 50s or 60s Italy (in various beautiful locations), but also for the specific way of the camera work and the whole way it was cut.

The story is based on Patricia Highsmith's novel. I've never read it and what I've scanned from the internet, it was pretty much changed and adapted for the screen.

I like very much, though, what they did with it. The story builds up slowly with only little supsense over the first two episodes. But then it picks up speed and I was sucked right into it.

Andrew Scott delivers a great performance as the title giving main character. The rest of the cast is also good and the characters each feel fitting and balanced into the story.

But I liked the style the most and some of the creative camera shots really add perfectly to the whole thing.

It really isn't an actioner and uncommonly slow for todays audience. But that is exactly what I also love so much about it.

So if you're into such an experience as well and love the style of the old cinema, then this one will definitely be a good recommendation.

⭐⭐⭐⭐⭐

...and then there's still Andrew Scott, hello?!?!

[theinsatiables]

Ripley (2024) : Steven Zaillian

*Editor's Note: After completing the first episode, I still don't know why Zaillian needed 8 episodes to adapt Highsmith's first Ripley novel but, wow, is it gorgeous to look at.

[ilikethisacompletelynormalamount]

It's about fucking time. Talking more about this aspect of the casting would have been helpful in the beginning of the promo though Steve.

I wanted somebody older. I didn’t understand what the big deal would be that some guy’s son ran off to Europe at 25. That’s the story of every 25-year-old today. And so Tom Ripley would logically be the same age as Dickie Greenleaf [played by Johnny Flynn]. If he’s older, he’s more desperate. They’re both desperate. Ripley has been at this longer. He and Dickie have been around long enough to know that they’re failures.

Steven Zaillian on why he wanted an older Tom Ripley (x)

[denimbex1986]

'The trailer and release date for Ripley have been revealed, previewing the upcoming Netflix thriller. The project was first announced in 2019 and was originally planned for Showtime as a television adaptation of Patricia Highsmith's seminal Tom Ripley novels. Andrew Scott, known for his performances in Fleabag as the Hot Priest, in Sherlock as Moriarty, and his acclaimed performance in the 2023 drama All of Us Strangers, was cast in the lead role of Tom Ripley.

Netflix has unveiled the trailer for Ripley, which will premiere on April 4...

In the moody monochrome preview, Tom Ripley is the name on everyone's tongue. But there are also hints that the familiar character, now played by Scott, leads a dangerous life that may well lead to ruin. The trailer also reveals John Malkovich has been cast. Previously, Malkovich played Tom Ripley in the 2002 film Ripley's Game.

What To Know About Netflix's Ripley Show

The eight-episode drama begins with Tom Ripley as he's just getting by in his average con artist ways. Set in early 1960s New York, the titular character is hired by a wealthy man to convince his son, Dickie Greenleaf (Stardust and Emma actor Johnny Flynn) to return home from Italy. But the allure of Dickie's lifestyle and his seemingly perfect romance with the suspicious Marge Sherwood (The Equalizer 3 star Dakota Fanning) tempts Ripley. He goes to extreme lengths to maintain his place next to Dickie, which eventually devolves into deceit, fraud, and murder.

The new Netflix miniseries hails from Steven Zaillian, who wrote and directed every episode. He's contributed to some of Hollywood’s most influential movies, winning an Oscar for the screenplay of Schindler’s List as well as writing on Scorsese's Gangs of New York and The Irishman. Zallian also wrote and directed on HBO's acclaimed limited series The Night Of, with Ripley being his second foray into TV.

The drama, which also stars musician and No Time to Die actor Eliot Sumner, moved to Netflix from Showtime earlier this year after Netflix execs viewed footage of the show. With nods to the overall Ripley franchise, a notable writer, and a talented cast, the series could be a big hit with audiences and at awards ceremonies.'

[rickchung]

Ripley (prod. Steven Zaillian).

Zallian's fresh but still cold-blooded take on Tom Ripley makes for an exciting remake. While the more methodical, episodic pace stretches certain plot contrivances about a man living double lives yet interacting with the same small pool of townspeople, Ripley makes the cat-and-mouse game of a con job with more than enough style and flair. There's an elegance to the strikingly pulpy European material.

[cinelestial]

Steven Zallian wins the Emmy Award for Outstanding Directing in a Limited or Anthology Series or Movie for RIPLEY

[milliondollarbaby87]

Screenplay Sunday – The Irishman The epic from Martin Scorsese reuniting Robert De Niro and Al Pacino! Standout performance from Joe Pesci, now you can read the screenplay! Written by Steven Zallian based on the book by Charles Brandt The Irishman

[culturallyobessed]

GRETA GERWIG Takes Home Award for LITTLE WOMEN at USC

GRETA GERWIG Takes Home Award for LITTLE WOMEN at USC

Culturally Obsessed and Muse TV attended the red carpet for The 32nd USC Libraries Scripter Awards on Jan. 25th at USC’s Doheny Memorial Library. The Scripter Awards recognizes the year’s most accomplished adaptation of the written word for the screen, including feature film and television adaptations. We interviewed Greta Gerwig (LITTLE WOMEN), Steven Zallian (THE IRISHMAN), Charles Brandt (THE…

[kevrocksicehouse]

Ben Kingsley, who turns 77 today is one of Britain’s best character actors. A few of the many times he’s been the best thing in a movie:

Bruce Pandolini in Searching for Bobby Fischer. D: Steven Zallian (1993). Kingsley plays a chess instructor hired to train an extremely young prodigy (Max Pomeranc) and whose monomania threatens to become child abuse. On one hand we see the bullying tyranny that Pandolini feels is necessary to make the boy a champion (and his fear, based on his own experience that anything less will destroy him). But when, during a crucial match, when an opponent makes a mistake, the wonder in Kingsley’s voice saying under his breath “Look deep, Josh. It’s there. It’s twelve moves away but it’s there” you see his deep love for the game that has destroyed his life.

Itzhak Stern in Schindler’s List. D: Steven Spielberg (1993). As the Jewish accountant who is hired by Nazi industrialist Oskar Schindler (Liam Neeson) to run his factory and then slowly, subtly save as many Jewish “workers” as he can Kingsley conveys both the gravity of his opportunity and the trepidation of how easily it could turn to disaster (it’s impossible to imagine him ever having a nights sleep). The actor also can give voice to the conscience (“This list…is an absolute good. The list is life. All around its margins lies the gulf.”) that Schindler is too enigmatic to acknowledge.

Don Logan in Sexy Beast. D: Jonathan Glazer (2001). An emissary for a British gangster to a retired criminal (Ray Winstone) asking him to do one last job, if screaming “You think this is the wheel of fortune? You think you can make your dough and f--- off? Leave the table? Lying in your pool like a fat blob laughing at me, you think I’m gonna have that? You really think I’m gonna have that, ya ponce? All right, I’ll make it easy for you. God knows, you’re f---ing trying. Are you gonna do the job? It’s not a difficult question, are you gonna do the job, yes or no?” is asking. His most demented performance and his best.

[anshulkumarpandey]

Movie Review: Steven Zallian’s The Civil Action

We live in a world where huge multi-national corporations have more annual income than the entire GDP of many nations. While elected governments can be held responsible for the crimes committed on their behalf in the court of law, how does one compel the MNCs to accept their wrongdoing when they have huge resources to make a mockery of the entire legal process? Steven Zaillian’s The Civil Action is a legal take on the traditional David v. Goliath battle which assures its viewers that there can be a victory beyond defeat. 

The hard bargain that takes place over the worth of an individual's dignity at the beginning of the movie epitomizes the extent to which life has been commoditized in contemporary America. The clearly artificial concern that Jan Schlichtmann (John Travolta’s character) shows for his clients in the courtroom, starkly contrasting with his own abundant and luxurious lifestyle, highlights the propensity of the practitioners of the legal profession to use the argument of morality in pursuit of their borderline immoral ends.

It is such frustratingly effective argumentative capability that sums up Jan's outlook towards his work when he says that “the lawyer who shares his client's pain, in my opinion, does his client such a great disservice, he should have his license to practice taken away”. Ignoring the ridiculously meagre measurements of the proverbial box that such an outlook confines the definition of the term 'service' to, one is not surprised to see him almost reject the 'Woburn case' even though it involves the death of eight children - due to the absence of any defendants with deep pockets. Yet, deep pockets emerge from the margins of the case and Schlichtmann, Conway and Gordon Co. begin their work to drill holes in those pockets.

Suddenly, we see a parallel fight emerge. This is a fight beyond that of the plaintiff, the respondent or even the courtroom. This fight is the my-brand-is-better-than-your-brand fight and the name of the two fighters is Harvard and Cornell. Jan refuses to submit to an inferiority complex while practicing law in the backyard of Harvard despite not being its alumni. His reasoning is simple – he sees Harvard alumni as bullies and simply refuses to submit to them.

In deposition after deposition, we hear affected families narrate the manner in which they lost their children, sometimes on their way to the hospital, due to leukaemia caused by the contaminated water in their neighbourhood. Jerome Facher, played by the brilliant Robert Duvall, who represents one of the two corporations implicated in the lawsuit, repeatedly patronizes Jan as if he does not know the law at all. The evening before the settlement talks are to commence, we see a contemplative Travolta sitting in his car near the affected neighbourhood, imagining his clients trying to resuscitate their dead baby on the way to the hospital. Is there an ideological change in his character? Has his pride been hurt? Or has the grief of the victims – brought out in the detailed depositions that they gave narrating their loss – finally stirred something at the core of his heart?

As the chances of his securing a conviction grow thinner and thinner, Schlichtmann continues to be patronized by Fascher with an even blunter worldview than that held by him before. “The courtroom isn't the place to find the truth” Fascher says, “you'd be lucky to find here anything that resembles the truth”. Sitting in the hallway of that court, waiting for the jury to return with the verdict, we finally come to know of Schlichtmann's transformation in five odd words: “Eight children are dead, Jerry”. Your heart skips a beat as you realize that he has broken his only cardinal principal in the profession; he has shared his client's pain.

Often, while following the progress of the case, one gets tangled in the technicalities of the law so much that (s)he forgets that in most cases, it is the lawyers that matter in the courtroom. This movie beautifully brings out this facet of the legal profession through the eventual bankruptcy of Travolta in pursuit of justice. Through his bankruptcy, we are reminded of the tagline of the movie: "Justice has a price".

[ilikethisacompletelynormalamount]

Kevin McCarthy and Andrew Scott discuss Ripley, out April 4th on Netflix.

TikTok - kevinmccarthytv

[ramajmedia]

David Fincher's Movies, Ranked By Rotten Tomatoes | ScreenRant

David Fincher is one of the most popular directors working today, because moviegoers like dark stories and Fincher’s are as dark as they come. From Biblical-themed serial killers to sadistic games to home invasions, Fincher likes to unsettle his audience.

RELATED: Love, Death & Robots: All 18 Endings Explained

His movies tend to have jaw-dropping plot twists somewhere down the line, but Fincher isn’t as well-known for his twists as M. Night Shyamalan, because unlike Shyamalan, Fincher doesn’t use his plot twists as a gimmick or a crutch; he uses them to enhance the plot. Of course, it doesn’t always work out this way. So, here are David Fincher’s Movies, Ranked By Rotten Tomatoes.

10 Alien 3 (42%)

David Fincher has gone on to disown Alien 3, because the studio didn’t give him any creative control and dug their claws into his vision for the threequel. The plot sees Ripley landing on a planet-sized prison and then uncomfortably working alongside jailbirds to survive another onslaught of xenomorphs.

The off-screen deaths of Newt and Bishop were enough to ruin this for most Alien fans, but the ones who stuck around found a movie that was entirely lacking in the suspenseful fun that made the first two such masterpieces. Fincher probably could’ve made a terrific Alien film, but he got shafted by the studio suits.

9 The Curious Case of Benjamin Button (71%)

This movie is known for its gimmicky premise – that Brad Pitt has a condition that makes him age backwards, so we see him as an old man and a little kid – and in terms of plot, it’s just about what would happen if a man with that condition tried to find love and maintain a romantic relationship, which is about the most obvious thing you could do with that premise.

If nothing else, The Curious Case of Benjamin Button revolutionized the CGI effects that are now being used to de-age Robert De Niro in Netflix’s The Irishman and half the cast of the MCU in flashback scenes.

8 The Game (73%)

Unfortunately, The Game is one of the few cases where a David Fincher plot twist doesn’t make sense. Michael Douglas plays a business mogul stuck in his ways whose brother, played by Sean Penn, buys him an immersive game for his birthday.

This includes a clown doll being planted in his house and mysterious people following him around, so naturally, it freaks him out. It all culminates in Douglas jumping off a skyscraper and landing on a giant bounce house at a party in his honor, but there was no way the people behind the game could’ve predicted that. It’s one of Fincher’s few disappointments.

7 Panic Room (75%)

As far as tense, claustrophobic thrillers go, Panic Room is the gold standard. It’s the closest that David Fincher has come to helming a modern-day Alfred Hitchcock thriller. From the unconventional camera angles chosen by Conrad W. Hall and Darius Khondji (the rare two-cinematographer team) to David Koepp’s twisty script, Panic Room is a thrill-ride from beginning to end.

Jodie Foster and a young, early-career Kristen Stewart make a pair of leads you can root for, and reportedly, Foster reworked the script to make her character less helpless and damsel-in-distress-y, which undoubtedly improved the film’s characterization of its central duo.

6 Fight Club (79%)

While it bombed at the box office during its initial theatrical run, Fight Club has gone on to become one of the most beloved cult films of all time. Adapted from Chuck Palahniuk’s debut novel of the same name, it tells the story of an unnamed insomniac narrator who meets a carefree soap-maker named Tyler Durden just after his life goes down the tubes.

RELATED: 10 Most Memorable Quotes From Fight Club

From there, he goes down the rabbit hole of anarchism and homoerotic overtones, leading him to shocking discoveries about himself. It’s rare that a movie with a style this unique and a sense of humor this dark gets made by a major Hollywood studio, so it’s a sight to behold.

5 Se7en (81%)

While a thriller about a serial killer whose crimes are modeled after the Bible’s seven deadly sins might sound a little gimmicky, Se7en executes it shockingly well. Brad Pitt and Morgan Freeman make an intriguing Riggs/Murtaugh-esque pairing as the detectives on the killer’s trail – Pitt as a hotshot rookie and Freeman closing in on retirement (with the clichés presented earnestly to avoid feeling like clichés) – and Darius Khondji’s cinematography contains some frames that could stand on their own as individual works of art.

Andrew Kevin Walker’s expertly crafted script leads you down a conventional structure that you think you can predict before taking an unexpected left turn, and then flying off an unforeseen ramp and doing a barrel roll.

4 The Girl with the Dragon Tattoo (86%)

After the Swedish adaptation of Stieg Larsson’s Millennium trilogy made a big splash at the international box office, it was only a matter of time (two years, as it turns out) before Hollywood took a crack at it. To be fair to David Fincher’s re-adaptation, he didn’t water down the uncomfortable scenes of sexual violence from Larsson’s work for a Hollywood audience.

Steven Zallian reluctantly threw out the traditional three-act structure and opted to give his script a five-act structure to accommodate the massive plot. Some could say that this slows the film down and makes it half an hour too long, but it just deepens the characters and the effects of what takes place.

3 Gone Girl (87%)

The main problem that David Fincher’s adaptation of Gillian Flynn’s bestselling thriller Gone Girl suffers from is that the plot makes a lot more sense when you’ve read the book beforehand. Part of the reason for this is that Fincher got Flynn herself to adapt the novel, and while she’s a natural screenwriter, she’s more precious about every single plot point in the source material than a hired gun would be, and there’s too much packed into the movie as a result.

RELATED: 10 Domestic Noir Movies To Watch If You Loved Gone Girl

However, if you are familiar with the novel – which, let’s face it, a lot of people are, since it sold over two million copies – it’s like watching the book translated directly to the screen. Fincher deftly balances the two perspectives from which the novel is told and gives the twists just as much oomph in movie form as they have on the page.

2 Zodiac (90%)

Funnily enough, David Fincher’s cinematic dramatization of the search for the Zodiac Killer, whose identity is still a mystery all these years later, stars three would-be MCU actors: Robert Downey, Jr. as Paul Avery, Mark Ruffalo as Inspector Dave Toschi, and Jake Gyllenhaal as Robert Graysmith.

Although it is masterfully directed, written, and acted, the greatest strength in Zodiac is simply its historical accuracy. Many historians and criminologists have praised the movie for its authentic portrayal of the Zodiac Killer and his crimes. And at the end of the day, isn’t that all a historical movie is worth? If it can entertain and educate, then it’s quite an achievement.

1 The Social Network (95%)

Who would’ve thought that the story of a geeky college kid creating Facebook and then stealing the code from his classmates would make for riveting big-screen entertainment?

The strongest players in the ensemble cast are Jesse Eisenberg as a morally dubious Mark Zuckerberg and Armie Hammer in dual roles as the Winklevoss twins, and the real hero here is the almost mathematically structured Oscar-winning screenplay by Aaron Sorkin, who mirrors the opening acts with the closing acts in fascinating ways. Of course, it’s David Fincher’s direction that pulls all of this together.

NEXT: Guillermo Del Toro's Movies, Ranked By Rotten Tomatoes

source https://screenrant.com/david-fincher-movies-ranked-rotten-tomatoes/

[myfinancialguideme-blog]

Everything We Know About Martin Scorsese's Netflix Movie The Irishman

New Post has been published on https://financeguideto.com/awesome/everything-we-know-about-martin-scorseses-netflix-movie-the-irishman/

Everything We Know About Martin Scorsese's Netflix Movie The Irishman

Martin Scorsese is the latest director to attain the leap from the big screen to streaming platforms as he helms a crime epic based on true events for Netflix called The Irishman. It’s a biopic of Frank Sheeran, the mob enforcer who claims to have been the one who killed Jimmy Hoffa.

RELATED: The Irishman Has A Different Style Than Past Scorsese Gangster Films

Netflix hasn’t announced a release date for the movie yet, but it is likely to be reaching the streaming site- and possibly movie theater throughout the world, at the behest of Scorsese– at some phase afterwards this year. So, here is Everything We Know About Martin Scorsese’s Netflix Movie The Irishman.

8 Martin Scorsese hasn’t made a crook movie since 2006

Martin Scorsese is known as the guy who directs mafia movies, but the truth is that he hasn’t made a crook movie since 2006 ’s The Departed. Over the past few decades, he’s helmed some of the most iconic and acclaimed gangster movies ever built- Mean Streets, Goodfellas, Gangs of New York etc.- but he’s been taking a break from them for a while.

The Irishman appears as though it will make up for the infringe from mob movies with a sprawling narrative structure, an epic scope, a star-studded cast of Scorsese’s respected peers, and a tantalizing take on true events.

7 It’s based on a true story

While Martin Scorsese’s last crook movie The Departed was a fictional tale inspired by true events, The Irishman is a direct adaptation of a real guy’s life story. It’s a biopic of Frank “The Irishman” Sheeran, who was involved in labor unions and criminal organizations and claimed to be involved in the assassination of Jimmy Hoffa.

The film itself is based on the book I Heard You Paint Houses, which was written by author Charles Brandt. Brandt wrote the book after invited to take part in a number of detailed conversations with Sheeran about his crimes towards the end of his life.

6 The whole first half of the movie features de-aged actors

Digital de-aging the latest trend in big-screen blockbusters. The MCU pioneered it by taking years off Michael Douglas and Samuel L. Jackson and now, Scorsese is trying his hand at it. The filmmaker’s long-time editor Thelma Schoonmaker explained the whole thing: “We’re youthifying the actors in the first half of the movie. And then the second half of the movie they play their own age.

RELATED: The Irishman’s Entire First Half Features Digitally De-Aged Actors

“So, that’s a big danger. We’re having that done by Industrial Light and Magic Island, ILM. That’s a big risk. We’re watching some of it, but I haven’t get a whole scene where they’re young, and what I’m going to have to see, and what Marty’s going to have to see is,’ How is it affecting the rest of the movie when you assure them young? ’”

5 The script was written by an Oscar winner

Steven Zallian, the writer behind the screenplay for The Irishman, has previously won an Academy Award for writing Steven Spielberg’s acclaimed Holocaust drama Schindler’s List. He also wrote another crime epic for Martin Scorsese, Gangs of New York, for which he also received an Oscar nomination.

His other work includes writing the Emmy Award-nominated scripts for the miniseries The Night Of, as well as the screenplays for the Brad Pitt baseball finance drama Moneyball and the Denzel Washington drug dealer biopic American Gangster. So, it’s fair be asserted that the script for The Irishman is in very safe hands indeed.

4 The shoot took five months

A typical movie shoot takes around two months. A truly long one will run up to around 100 days. But the shoot for The Irishman took five months, so it’s on the longer end of the spectrum.

It will be a huge, sweeping epic that takes place across several decades and tells pretty much the entire life story of its subject Frank Sheeran, reportedly depicting him as young as 30 years old. The shoot took place in and around New York City, which is unsurprising for a Scorsese movie, since he’s a native of the Big Apple and most of his movies take place there.

3 Netflix was the only producer willing to fund the movie

Despite starring a cast of huge superstars like Robert De Niro and Al Pacino and being helmed by a heavyweight like Martin Scorsese, The Irishman struggled to find funding, due to the huge budget needed for its CGI.

RELATED: Robert De Niro Says Netflix is the Merely Way The Irishman Could Get Made

According to Robert De Niro, Netflix was the only route to get the movie made at all as the streaming service was the only producer willing to offer up the money needed to fund the produce of the movie: “We require the money to do it right and it simply wasn’t financeable in a different way- in the traditional film style, if you will.”

2 The budget is enormous

Typically, crime movies don’t cost too much to render. The budget for Scarface was $25 million, while its own budget for Pulp Fiction was merely around$ 8 million. But due to all the CGI effects needed to de-age the cast to tell the story over a number of time periods, The Irishman is costing up to $200 million to make.

The initial projected budget was $125 million, but this ballooned to $140 million, and then to $175 million, and now, it’s looks a lot like the final total will be $200 million. It will be the most expensive movie of Martin Scorsese’s career by far.

1 It’s a Scorsese reunion

The cast of The Irishman stars a bunch of actors who have worked with Martin Scorsese before. Obviously, the director has worked with Robert De Niro on a few occasions, but the whole thing is a Scorsese reunion. Joe Pesci plays Russell Bufalino, having previously given acclaimed performances in Goodfellas, Casino, and Raging Bull.

Harvey Keitel from Mean Streets plays Angelo Bruno. Ray Romano and Bobby Cannavale from Scorsese’s short-lived HBO drama series Vinyl appear in the movie, too. Al Pacino also has a major role, but he’s never starred in a Scorsese movie before, as hard as it might be to believe.

NEXT: 12 Best Robert De Niro Performances Of All Time

Read more: screenrant.com

[apocalypticmovierp]

Javier Bardem Teams With Steven Spielberg And ‘Schindler’s List’ Writer For Historic Epic Series On Amazon

Amazon just announced that they have ordered a four-episode historical miniseries following the life of Spanish explorer Hernan Cortes. Even though that sounds like an interesting development all on its own, the real cause for excitement is that actor Javier Bardem is signed on to play Cortes and Steven Spielberg’s Amblin Television is signed on to produce.

Written by Steven Zallian, best known for writing the Spielberg epic “Schindler’s List,” this Cortes project got its start over 50 years ago, when writer Dalton Trumbo had originally scripted a feature film, titled “Montezuma,” about the famous explorer.

Continue reading Javier Bardem Teams With Steven Spielberg And ‘Schindler’s List’ Writer For Historic Epic Series On Amazon at The Playlist.

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[denimbex1986]

'Andrew Scott joining the cast of Wake Up Dead Man: A Knives Out Mystery, or Knives Out 3, will circle back to one of his most prolific television characters. Scott is one of the latest additions to the highly anticipated Knives Out and Glass Onion sequel from Rian Johnson...

Andrew Scott In A Benoit Blanc Movie Is Perfect After Sherlock’s Moriarty Role

Moriarty was a great enemy of the prolific detective

Andrew Scott is poised to be the perfect addition to the Knives Out universe following his legendary role as Professor Moriarty in the celebrated series Sherlock. A crucial character in the Benedict Cumberbatch-led series, Professor Moriarty, as played by Andrew Scott, first appeared in season one, episode three titled "The Great Game." He would go on to become the greatest enemy of Sherlock Holmes and the man who infamously bested him in the Sherlock series finale "The Final Problem". As one of Scott's earliest television characters, which he last appeared as in 2017, Moriarty is a great indication of Scott's potential in Knives Out 3.

While Sherlock Holmes was considered a prolific detective, Moriarty was a criminal mastermind who proved to be the only one who could match, elude, and eventually beat Sherlock at his own game. It would be somewhat symbolic if Scott's character in Knives Out 3 turned out to be the key suspect or culprit in the anticipated murder that Wake Up Dead Man is expected to center on. While there are virtually no details that are currently available about the plot of the upcoming Rian Johnson film, Scott, as well as the characters played by O'Connor, Spaeny, and Washington, will likely all be potential killers.

Why Andrew Scott Is Such A Great Addition To Knives Out 3’s Cast

Scott is a phenomenal actor with a wide comedic and dramatic range

Scott has only gotten better at his craft since starring as Moriarty in Sherlock and has emerged in recent years as one of the most versatile and in-demand actors working today. His performance as The Priest in Fleabag season 2 is one of his most notable roles alongside Phoebe Waller-Bridge. He starred in one of the better episodes of Black Mirror season 5 titled "Smithereens" as a ride-share driver who had gone rogue to send a message to a giant tech guru. He appeared in the Oscar-winning WWII film 1917 in 2019 and starred alongside Paul Mescal (Aftersun, Gladiator 2) in the celebrated 2023 film All of Us Strangers.

Scott also starred as the titular protagonist in Netflix's 2024 limited series Ripley, written and directed by Steven Zallian and based on The Talented Mr. Ripley novel by Patricia Highsmith. Even just by viewing his roles in All of Us Strangers and Ripley alone, it's blatantly clear that Scott's range as an actor is essentially as good as it gets. Scott can not only capture a sinister coldness in his antagonists and a relatable vulnerability in his protagonists, but he can also combine these elements into a singular role. Ripley is arguably Scott's best overall performance because it showcases his incredible versatility.

Knives Out 3 Won't Be Andrew Scott & Daniel Craig's First Movie Together

Both actors starred in Spectre (2015)

Another great aspect of Scott joining the cast of Wake Up Dead Man is that it will reunite him with Craig after they both starred in 2015's James Bond blockbuster Spectre. Scott played Max Denbigh, better known as C, in Spectre, a corrupt Director of the Joint Security Service who ends up being Bond's antagonist. Given that Scott is one of the first actors to be cast in Knives Out 3, and considering that he has a history of playing unsuspecting villains, it could very well be that his character in Wake Up Dead Man will turn out to be the one guilty of the anticipated murder.'