Tuesday, April 13, 2021

Jordan Vogt-Roberts to Helm Netflix’s Live-Action Gundam Movie

(Photo Credit: Alberto E. Rodriguez/Getty Images)Jordan Vogt-Roberts to helm Netflix’s live-action Gundam movieIt has been four years since the successful release of Kong: Skull Island, and now director Jordan Vogt-Roberts has finally found his next big project with Legendary. Vogt-Roberts has officially signed on to direct the studio’s first-ever live-action feature film version of Gundam for Netflix, which will be based on the universe of Sunrise’s iconic Japanese robot franchise.This marks Legendary and Netflix’s latest collaboration together, the two companies previously worked on films such as 2016’s Spectral and last year’s Enola Holmes as well as shows like Lost in Space and Pacific Rim: The Black. They are also currently working on the anime series adaptation of Skull Island and Tom Raider.RELATED: Netflix’s Live-Action Cowboy Bebop Series Wraps Production!Plot details for the Netflix film are being kept under wraps but the original Gundam series is set in the Universal Century, an era in which humanity’s growing population has led people to emigrate to space colonies. Eventually, the people living in the colonies seek their autonomy and launch a war of independence against the people living on Earth. Through the tragedies and discord arising from this human conflict, not only the maturation of the main character but also the intentions of enemies and the surrounding people are sensitively depicted. The battles in the story, in which the characters pilot robots known as mobile suits, are wildly popular. The Gundam universe is replete with numerous storylines of love and conflict along with the popular Gundam battles, in which the characters operate robot suits called Mobile Suits.The live-action Gundam film will be penned by Brian K Vaughan. It will be produced by Vogt-Roberts with Vaughan set as executive producer. Legendary’s Cale Boyter will oversee the project along with the Sunrise creative team. The project was actually first announced in 2018 at the Anime Expo.RELATED: Sony & Netflix Ink First-Pay Streaming Licensing DealCreated by Hajime Yatate and Yoshiyuki Tomino, the franchise first started in 1979 with the TV series titled Mobile Suit Gundam. The massively popular Mecha anime and science fiction media franchise is Sunrise’s multi-billion-dollar property that has spawned a multi-platform universe encompassing televised anime, manga, animated films, video games, plastic models, toys, and novels among other media. Gundam continues to dominate Bandai Namco’s earnings almost forty years after its inception.
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    Netflix’s Bridgerton Gets Early Season 3 & Season 4 Renewals

    Netflix’s Bridgerton gets early Season 3 & Season 4 renewalsAs production continues on the upcoming second season of Bridgerton, Netflix has officially renewed producer Shonda Rhimes’ hit period romance drama for third and fourth seasons. The early two-season renewal comes after it was recently confirmed that Season 1 breakout star Regé-Jean Page will not be reprising his role as the Duke of Hastings Simon Bassett in the next season. Despite this, the first season’s female lead Phoebe Dynevor is still expected to return as Daphne, who will now help her brother Lord Anthony Bridgerton in his pursuit of love.Dearest readers, this author brings a most exciting announcement… pic.twitter.com/sV0QiYcn8z— Bridgerton (@bridgerton) April 13, 2021“From the first time I read Julia Quinn’s delicious Bridgerton series, I knew these were stories that would captivate a viewing audience. But the evolution of this adaptation would not be a success without the many significant contributions of the entire Shondaland team,” Rhimes said in a statement (via Deadline). “This two-season pickup is a strong vote of confidence in our work and I feel incredibly grateful to have partners as collaborative and creative as Netflix. Betsy and I are thrilled to have the opportunity to continue bringing the world of Bridgerton to a worldwide audience.”RELATED: To All the Boys Spinoff Series in Development at NetflixSeason 2 will be based on the second book of Julia Quinn’s Bridgerton novels, titled The Viscount Who Loved Me which centers around the pursuit of a suitable marriage for the eldest Bridgerton sibling, Anthony, portrayed by Jonathan Bailey. The new season will introduce a new female lead in the form of Sex Education actress Simone Ashley as Kate Sharma.She will also be joined by new characters including Shelley Conn (Liar) as Edwina Sharma,  Calam Lynch (Benediction) as Theo Sharpe, Charithra Chandran (Alex Rider) as Edwina Sharma and Rupert Young (The Secret Garden) who will play Jack.Pick up a copy of the Bridgerton novels here!Based on Julia Quinn’s best-selling series of novels, spanning from 2000 to 2013, this smart feminist take on Regency England romance unveils the glittering, wealthy, sexual, painful, funny, and sometimes lonely lives of the women and men in London’s high society marriage mart as told through the eyes of the powerful Bridgerton family.RELATED: Leslie Mann, Pedro Pascal & More Join Judd Apatow Netflix ComedyThe series is being adapted by Scandal veteran Chris Van Dusen, who is also the showrunner of the project and executive producer alongside Shonda Rhimes and Betsy Beers of Shondaland.The cast for Bridgerton includes Phoebe Dynevor, Golda Rosheuvel, Jonathan Bailey, Luke Newton, Claudia Jessie, Nicola Coughlan, Ruby Barker, Sabrina Bartlett, Ruth Gemmell, Adjoa Andoh, Polly Walker, Bessie Carter and Harriet Cains and Julie Andrews as the voice of Lady Whistledown.

    Exclusive Arlo the Alligator Boy Clip From Netflix Animated Musical

    Exclusive Arlo the Alligator Boy clip from Netflix animated musicalAs the film gears up for its debut on the streaming platform on Friday, Netflix has provided ComingSoon.net with an exclusive clip from the animated family musical adventure Arlo the Alligator Boy, seeing the titular aspiring musician saved by his new human friend Bertie. The exclusive clip can be viewed in the player below!RELATED: Yasuke Teaser: LaKeith Stanfield is a Samurai in Netflix Anime SeriesDirected by Ryan Crego in his feature debut on a script from he and Clay Senechal, the film focuses on Arlo, a wide-eyed boy who is half human and half alligator that learns he is from New York and decides to leave his sheltered life in the swamp in search for his long-lost father. Arlo’s journey will see him meet a group of misfits that quickly become his new family, with the story eventually carrying over into the half-hour series I ♥ Arlo as he and his newfound crew set up shop in an abandoned seaside neighborhood and bring it back to life.The cast for the film includes Micheal J. Woodward as Arlo alongside Mary Lambert as Bertie, Haley Tju (Bella and the Bulldogs) as Alia, Jonathan Van Ness (Queer Eye) as Furlecia, Brett Gelman (Without Remorse) as Marcellus, Tony Hale (Harley Quinn) as Teeny Tiny Tony, Flea (Baby Driver) as Ruff, Annie Potts (Young Sheldon) as Edmée, Jennifer Coolidge (2 Broke Girls) as Stucky and Vincent Rodriguez III (Crazy Ex-Girlfriend) as Ansel.RELATED: Exclusive Trailer for Star-Studded Horror-Comedy Too Late!Arlo the Alligator Boy is set to hit Netflix on Friday while the 20-episode I ♥ Arlo will debut sometime later this year.

    Jordan Vogt-Roberts to Helm Netflix’s Live-Action Gundam Movie

    (Photo Credit: Alberto E. Rodriguez/Getty Images)Jordan Vogt-Roberts to helm Netflix’s live-action Gundam movieIt has been four years since the successful release of Kong: Skull Island, and now director Jordan Vogt-Roberts has finally found his next big project with Legendary. Vogt-Roberts has officially signed on to direct the studio’s first-ever live-action feature film version of Gundam for Netflix, which will be based on the universe of Sunrise’s iconic Japanese robot franchise.This marks Legendary and Netflix’s latest collaboration together, the two companies previously worked on films such as 2016’s Spectral and last year’s Enola Holmes as well as shows like Lost in Space and Pacific Rim: The Black. They are also currently working on the anime series adaptation of Skull Island and Tom Raider.RELATED: Netflix’s Live-Action Cowboy Bebop Series Wraps Production!Plot details for the Netflix film are being kept under wraps but the original Gundam series is set in the Universal Century, an era in which humanity’s growing population has led people to emigrate to space colonies. Eventually, the people living in the colonies seek their autonomy and launch a war of independence against the people living on Earth. Through the tragedies and discord arising from this human conflict, not only the maturation of the main character but also the intentions of enemies and the surrounding people are sensitively depicted. The battles in the story, in which the characters pilot robots known as mobile suits, are wildly popular. The Gundam universe is replete with numerous storylines of love and conflict along with the popular Gundam battles, in which the characters operate robot suits called Mobile Suits.The live-action Gundam film will be penned by Brian K Vaughan. It will be produced by Vogt-Roberts with Vaughan set as executive producer. Legendary’s Cale Boyter will oversee the project along with the Sunrise creative team. The project was actually first announced in 2018 at the Anime Expo.RELATED: Sony & Netflix Ink First-Pay Streaming Licensing DealCreated by Hajime Yatate and Yoshiyuki Tomino, the franchise first started in 1979 with the TV series titled Mobile Suit Gundam. The massively popular Mecha anime and science fiction media franchise is Sunrise’s multi-billion-dollar property that has spawned a multi-platform universe encompassing televised anime, manga, animated films, video games, plastic models, toys, and novels among other media. Gundam continues to dominate Bandai Namco’s earnings almost forty years after its inception.

    Netflix Unveils New Trailer & Poster for THE GIRL in the Window

    The time is nearly upon viewers for the long-awaited arrival of the Amy Adams-led adaptation of the thriller novel The Woman in the Window and Netflix is beginning the hype train for the film with the release of a new trailer and poster, the former of which can be viewed below and the latter in the gallery at the bottom!RELATED: The Woman in the Window Sets Release Date For Netflix DebutAmy Adams. The Woman in the Window. May 14. pic.twitter.com/IHK5wU9msz— Netflix (@netflix) April 8, 2021Based on A.J. Finn’s 2018 novel of the same name, the story centers on agoraphobic child psychologist Dr. Anna Fox as she befriends a neighbor across the street from her New York City brownstone, though finds her life turning upside down when the woman disappears and suspects foul play, leading to a series of shocking secrets revealed and where no one — and nothing — is what it seems.Pick up your copy of the A.J. Finn novel here!Oscar nominee Adams (Arrival, Zack Snyder’s Justice League) leads an A-list ensemble cast including Oscar winners Julianne Moore (Still Alice) and Gary Oldman (Mank), who is reuniting with Darkest Hour director Joe Wright on the film, Anthony Mackie (The Falcon and The Winter Soldier), Wyatt Russell (The Falcon and The Winter Soldier), Emmy nominee Brian Tyree Henry (Godzilla vs. Kong) and Oscar nominee Jennifer Jason Leigh (The Hateful Eight).RELATED: Netflix Debuts First Trailer & Key Art for Sundance Drama MonsterThe Woman in the Window is directed by Wright from a script written by Tracy Letts (Killer Joe) and produced by Scott Rudin (Lady Bird, No Country for Old Men), Eli Bush (Lady Bird, Annihilation) and Antony Katagas. The film was originally set to hit theaters in October 2019, though was delayed in an effort to retool the film after negative test screenings and Rudin landing Tony Gilroy (Rogue One: A Star Wars Story) for rewrites/reshoots, and seeing multiple delays by 20th Century Studios due to the global pandemic before being sold to Netflix.The psychological thriller will now debut on Netflix on May 14.

    Sony & Netflix Ink First-Pay Streaming Licensing Deal

    Sony & Netflix ink first-pay streaming licensing dealSony Pictures Entertainment and Netflix are expanding their partnership as the studio and streaming platform have announced a new multi-year deal offering the latter an exclusive first-pay window to license any theatrically-released film for streaming beginning with their 2022 film slate. The deal builds upon the previous deal the two had for all Sony Pictures Animation films, beginning with The Mitchells vs. The Machines.RELATED: The Mitchells vs. The Machines Trailer From Lord & Miller’s Animated Adventure“Sony Pictures is a great partner and we are thrilled to expand our relationship through this forward-thinking agreement,” Scott Stuber, Head of Global Films at Netflix, said in a statement. “This not only allows us to bring their impressive slate of beloved film franchises and new IP to Netflix in the U.S., but it also establishes a new source of first run films for Netflix movie lovers worldwide.”Under the deal, Netflix will obtain first pay window rights to titles following their theatrical and home entertainment windows, with tentpoles such as Morbius, Uncharted, Where the Crawdads Sing and Bullet Train among the first offerings in next year’s schedule. Those titles will be followed by other entries in Sony Pictures’ rejuvenated slate of IP, including the sequel to Oscar-winning Spider-Man: Into the Spider-Verse and other Sony Marvel films, namely future Venom and Spider-Man sequels, and expected follow-ups for the Jumanji and Bad Boys franchises.“Netflix has been a terrific partner as we continue to expand our relationship,” Keith Le Goy, President, Worldwide Distribution and Networks, Sony Pictures Entertainment., said in a statement. “At Sony Pictures, we produce some of the biggest blockbusters and the most creative, original films in the industry. This exciting agreement further demonstrates the importance of that content to our distribution partners as they grow their audiences and deliver the very best in entertainment.”RELATED: Sony Pushes Tom Holland-Fronted Uncharted Back a WeekAs part of the partnership, Sony Pictures’ Motion Picture Group will offer Netflix a first look at any films it intends to make directly for streaming or decides later to license for streaming, and Netflix has committed to make a number of those films over the course of the deal. Any such direct-to-streaming projects will be added on to Sony’s full theatrical film slate, which is expected to continue at its current volume.

    Jodie Turner-Smith Exits Leading Role in Netflix’s The Witcher Prequel

    Jodie Turner-Smith exits leading role in Netflix’s The Witcher prequelAccording to Deadline, Queen & Slim actress Jodie Turner-Smith has officially exited her leading role in Netflix’s upcoming prequel limited series The Witcher: Blood Origin. Her withdrawal from the project was due to scheduling conflicts caused by a slight change in the production schedule. Turner-Smith was originally set for the role of Éile, who is being described as an elite warrior blessed with the voice of a goddess.“Due to a change in the production schedule for ‘The Witcher: Blood Origin’ limited series, unfortunately Jodie Turner-Smith will no longer be able to continue on in the role of Éile,” a Netflix representative said in a statement.RELATED:  Netflix’s The Witcher Season 2 Finally Wraps Production!Set in an elven world 1,200 years before events of the main series, The Witcher: Blood Origin tells the story lost to time – the creation of the first prototype Witcher, and the events that lead to the pivotal “conjunction of the spheres,” when the worlds of monsters, men, and elves merged to become one.The six-part limited series will be led by Éile, who has left her clan and position as Queen’s guardian to follow her heart as a nomadic musician. A grand reckoning on the continent forces her to return to the way of the blade in her quest for vengeance and redemption.It will also star Vikings alum Laurence O’Fuarain who has been cast for the role of Fjall, a character who comes from a clan of warriors sworn to protect a King. He carries a deep scar within caused by the death of a loved one who fell in battle trying to save him. A scar that won’t let him settle, or make peace with himself or the world around him. In his quest for redemption, Fjall will find himself fighting beside the most unlikely of allies as he carves a path of vengeance across a continent in turmoil.RELATED: CS Unboxed: McFarlane DC Figures, Plus Spawn, Witcher & More!The Witcher: Blood Origin will be executive produced by Declan de Barra, who also serves as the showrunner. The Witcher showrunner Lauren Schmidt Hissrich will also executive produce along with Hivemind’s Jason Brown and Sean Daniel, and Platige Films’ Tomek Baginski and Jarek Sawko. Polish author Andrzej Sapkowski will serve as a creative consultant on the series.

    Jupiter’s Legacy Trailer & Poster DELIVERS Wild Superhero Action

    Jupiter’s Legacy trailer & poster serves up wild superhero actionNetflix has unveiled the first trailer and new poster for its upcoming superhero series Jupiter’s Legacy, based on Mark Millar and Frank Quitely’s comic book series. Starring Josh Duhamel, the series is set to hit the streaming platform on May 7. The trailer, which shows off some of the series’ pulse-pounding action and decades-spanning story, can be viewed below!RELATED: Josh Duhamel Confirmed to Join Jennifer Lopez in Shotgun WeddingNo legend lives forever.Jupiter’s Legacy premieres May 7 pic.twitter.com/r6w8b18j39— Netflix (@netflix) April 7, 2021TRAILER. TOMORROW. #JupitersLegacy is coming to @netflix May 7th. pic.twitter.com/FyYZb8nZri— Millarworld (@mrmarkmillar) April 6, 2021Recommended Reading: Jupiter’s Legacy spans from the 1930s through to the present day and is based around the story of the first generation of Superheroes, who rose to prominence after receiving powers. Fast forward to the present day, the original heroes are revered as the elder guard, while the children of the fabled heroes are struggling to live up to their parent’s legacy and legendary feats.The series stars Josh Duhamel (Transformers) as Sheldon Sampson/The Utopian, Ben Daniels (The Crown) as Walter Sampson/Brainwave, Leslie Bibb (The Babysitter: Killer Queen) as Grace Sampson/Lady Liberty, Elena Kampouris (Shoplifters of the World) as Chloe Sampson, Andrew Horton (It Came From the Desert) as Brandon Sampson/Paragon, Mike Wade (SEAL Team) as Fitz Small and Matt Lanter (Chasing the Rain) as George Hutchene/Skyfox.Steven S. DeKnight, best known for showrunning Daredevil’s inaugural season, created and executive produces the series. He was previously attached to serve as the showrunner, but vacated the position due to creative differences, which Sang Kyu Kim later took over and serving as executive producer alongside Millar, Lorenzo Di Bonaventura and Dan McDermott.RELATED: Jupiter’s Legacy Set Photo: First Look at Josh Duhamel as The UtopianThe comic book series was first published by Image Comics in 2013. It followed The Utopian and Lady Liberty, who are the costumed aliases of Sheldon and Grace Sampson. After venturing to a mysterious island with a handful of their friends in 1932, they gained superhuman abilities and established themselves as the first generation of superheroes. They soon formed the Union of Justice. Years later, Sheldon and Grace had two children, Chloe and Brandon, who inherited their own set of powers. However, Chloe and Brandon also developed a cynical attitude toward superheroes and struggled to find their places in the shadow of their famous parents.

    CS Score Interviews Promising Young Woman Composer Anthony Willis

    CS Score interviews Promising Young Woman composer Anthony WillisHey, there film score lovers! Welcome to another edition of CS Score, your place for everything film soundtrack related! Today, we’ve got a great interview with Anthony Willis, the composer of the Academy Award nominated drama Promising Young Woman. Willis received a BAFTA nomination for his incredible work on the film and takes the time to really delve into his scoring process.We also got a chance to speak with Gabriel Hays who discussed his work on the Netflix animated film, Secret Magic Control Agency. Hays also spoke at length about the challenges of scoring an animated film, which is something you’ll definitely want to check out.Finally, Waxwork Records was kind enough to send us copies of recently released vinyl albums for The Haunting of Hill House and Teenage Mutant Ninja Turtles II: The Secret of the Ooze.Let’s do this thing!RELATED: CS Interview: Tom Holkenborg On His Score for Godzilla vs. Kong!NEWSBack in stock CONAN THE BARBARIAN (3CD) https://t.co/YFQ8wlDAdz— Intrada (@IntradaCDs) March 31, 2021The full #GodzillaVsKong soundtrack by @Junkie_XL is available at: https://t.co/cbXZaDTlrB. Now in theaters and streaming exclusively on @HBOMax*.*Available on @HBOMax in the US only at no extra cost to subscribers, for a limited time. pic.twitter.com/MORRHjKdwa— Godzilla vs. Kong (@GodzillaVsKong) March 31, 2021THE COURIER (score by Abel @korzeniowski) released today by @LakeshoreRecs: https://t.co/0UTdGDtwlG pic.twitter.com/gf5989Wh08— Soundtrack.Net (@SoundtrackNet) March 19, 2021PREMIERCheck out a new track from the upcoming Concrete Cowboy—Music From the Netflix Film. Composed by Kevin Matley, the understated score highlights solo instruments to provide an emotionally rich and moving backdrop to the father-son drama about a teen caught between a life of crime and his estranged father’s vibrant urban-cowboy subculture. The film is directed by Ricky Staub, stars Idris Elba and Caleb McLaughlin and will release on Netflix on April 2.Listen to “Cole’s Theme” and “You Don’t Have to Get Out to Grow Up”:REVIEWSThe Haunting of Hill HouseBy The Newton BrothersAs was the case with The Haunting of Bly Manor, Waxwork Records released a stunning vinyl album for Netflix’s The Haunting of Hill House, which presents the Newton Brothers’ score in a handsome deluxe package featuring production stills, an 11×11 insert and a stunning layout aesthetic designed by Aesthetic Apparatus. Plus, you get a “Red Door” marble colored vinyl. What’s not to like?The score itself, in our humble opinion, is stronger than the still excellent, but notably less focused, Haunting of Bly Manor, with strong themes punctuated by plenty of eerie underscore. The main theme is indeed haunting, but also carries a lot of emotional undercurrents as it underlines the broken family that serves as the show’s focal point by way of quiet, atmospheric piano (a motif carried over in Bly Manor). And the final tracks that close Hill House are absolutely heartbreaking, and quite lovely.Check out this amazing record today!Track ListSide A1. The Haunting Of Hill House (Main Titles)2. Come Home3. Larks and Katydids4. Darkness and Chaos5. That Night6. Take Her Down7. Whatever Walked There, Walked Alone8. Hill HouseSide B9. Go Tomorrow10. Science Vs. Religion11. What Did You Really See12. The Red Room13. Missing Things14. I Believe You15. 12:00 a.m.16. In The Shadow Of GhostsSide C17. I Want To Wake Up So Badly18. Luke19. Approaching The House20. Haunted Past21. You Remember22. Feel NothingSide D23. Beginning Of The End Movement I24. Beginning Of The End Movement II (Tea Party)25. Beginning Of The End Movement III26. Beginning Of The End Movement IV27. The EndTeenage Mutant Ninja Turtles II: The Secret of the OozeBy John DuPrezTeenage Mutant Ninja Turtles II had the herculean task of living up to 1990’s surprise blockbuster Teenage Mutant Ninja Turtles, which took in more than $200 million at the box office against a $13M production budget. Unfortunately, despite a bigger budget, and that killer Vanilla Ice song, the sequel failed to match the hype generated by its predecessor, only took in about $78M worldwide and went down as something of a missed opportunity.Honestly, one of the biggest disappointments from kids at the time (including myself) was the lack of Bebop and Rocksteady, who could not be used for … reasons. Instead, the two goons were substituted with Tokka and Rahzar, which only added to the film’s low quality, B-movie aesthetic. Also, what the hell happened to Corey Feldman, Judith Hoag and Elias Koteas? And why did the turtles never use their weapons?Anyways, one of the things the sequel did get right was the music, composed by John Du Prez, who also scored the original film. The musical quality is about on par with TMNT, with surprisingly elegantly written themes intermixed with 90s techno music. The score is not what one would dub cinematic greatness, but it certainly has its charms. And if you love the score, you just lucked out!Waxwork Records has released an all new LP presentation of DuPrez’s score, realized for the first time in any format, packaged with all new artwork by TMNT co-creator Kevin Eastman. The score itself is quite short, with most tracks consisting of roughly two-three minutes of music, but this is definitely a love letter to the fans and a nice bit of nostalgia for any collector to own.And yes, Ninja Rap is here as well.Check out TMNT II today!Track List:Side A1. NY Pizza2. Main Title3. Pile of Criminals4. Shredder Lives5. Mutant Dandelions6. Grave Danger7. TGRI Fight8. Home Sweet Home9. Tokka & Rahzar10. Scrapyard Scrap11. What Troubles You12. Master Say Have Fun13. Let The Games Begin14. Super Shredder15. Cowabunga Says It All16. Dark Monsters17. Ninja Rap (Performed by Vanilla Ice)Anthony Willis — Promising Young WomanComposer Anthony Willis has taken a running leap into the Neverland of film scoring, composing music for many of Hollywood’s most beloved productions.Willis recently earned a BAFTA Awards nomination for his “Original Score” to director/writer Emerald Fennell’s Oscar and Golden Globes nominated revenge thriller Promising Young Woman, starring Carey Mulligan and Bo Burnham, which premiered at the Sundance Film Festival in 2020.Upcoming projects include Amin Matalqa’s animated adventure Hump, starring Simon Pegg and Gaten Matarrazo.Willis’ composer credits include Dreamworks Animation’s Annie Award-winning How to Train your Dragon: Homecoming, starring Jay Baruchel and America Ferrera; Universal Pictures’ silent film 4k restoration of What Happened to Jones?, part of Kino Classics’ Reginald Denny Collection; Seasons 6 thru 8 of the video game sensation, Fortnite; Michelle Morgan’s Sundance Selection comedy It Happened in L.A.; Sony Playstation’s BAFTA nominated video game Knack II; David Yarovesky’s horror thriller, The Hive, starring Gabriel Basso; and more.ComingSoon.net: Congratulations on your BAFTA nomination! I just watched Promising Young Woman and thought it was a fascinating, sad, but absolutely incredible motion picture. And I think your score is a key piece to its success.Anthony Willis: Thank you very much. I mean, you know, I feel so lucky to be a part of it. And it’s really, as everyone is catching on, pretty much director Emerald Fennell’s vision. And I was really, really lucky at the time to be able to support her in that, and obviously, so delighted for her and everyone involved to see the film go the length that it has, so, a really wonderful outcome.RELATED: Exclusive Promising Young Woman Behind-the-Scenes ClipCS: What drew you to this project?Anthony: Emerald had been looking for a composer, and, at the time, I really wanted to make her feel like she had her pick of the bunch, as it were. But she very sweetly asked me to watch the film and write a demo. She knew I had a background in more classic thematic scores. And so, I think she was thinking, I wonder what Anthony might be able to unlock for us. You know, whether, is there a theme? Is there a central theme for Cassie’s character that can run as a counterpart to the amazing use of pop songs in the movie? And I think it started really as a little experiment. And when I watched the, I was so blown away by it. I was left with this feeling, which was really created by the incredible character that Emerald wrote, but also just such a vivid portrayal by Carey Mulligan. And this theme image. And then what I realized is that it was a theme for — we also had conversations about how Cassie’s friend Nina could be brought into the story, because, obviously, everything that happens is the result of her. And what I realized is it needed to be a theme for lost friendship. And that theme is essentially a lullaby which are then subverted. So, it’s taking something that in its essence is really quite hopeful and optimistic, it rises, and it repeats, it can be quite sweet, even melancholic; but then when subverted, it helps you portray the trauma. And the theme, dare I say, promises hope. And, but then the treatment that I give it, makes it more haunted.CS: One of my favorite cues of the film is the music that underscores the scene with Cassie and Nina’s mom; and the thing that interests me about that scene is exactly when you cue the music right after Cassie says, “I’m just trying to fix it.” If the music had come in a little bit before, maybe it doesn’t work quite as well. How do you determine when exactly to cue the music? Because the moment right there is perfection.Willis: Oh, thank you so much. I mean that cue is definitely a favorite of mine. I was suppose we went kind of big or go home. Even though you’re seeing ultimately what unfolds, it’s a counterpart to a previous scene with Cassie on her laptop and you’re watching really a small — geographically a very small thing happening — but emotionally it’s enormous. And it’s a letting go of this trauma, releasing this trauma. We worked really hard. With film music cues, you really want them to be attached to an emotional turning point in the story. That’s something I got really excited about is what’s happening in the film that that should initiate the film in a way that it’s an extension of the narrative? So, that moment was just feeling the scene and going, okay, at what point is there a turning point?CS: You’ve composed a handful of indie films and contributed to many animated films, but this is your first large-scale project. What were the challenges you faced?Willis: I think every film is a challenge. Even the additional music I’ve written over the years, it’s always a challenge to find your way into a project. Of course, as the lead composer, you’re the one responsible for guiding the ship. So, I very much embraced that. And it’s really exciting. It’s really exciting to get to do that for a film. But everything’s daunting. I think if a composer isn’t a little bit daunted, they’re not taking the responsibility seriously enough. Film music needs to be spontaneous, too. So, if you don’t have that playful, spontaneous, and emotional kind of reaction to your work, I think it’s never going to feel that way to an audience. So, as daunting as these things are, you try to just fall into the film, and really have a good time, as well.CS: Were there any new instruments you ended up using on Promising Young Woman that you hadn’t used before in previous projects?Willis: Yes, I’d say I’ve never extensively used an organ, which we use quite a lot to underpin a lot of the tension music that supports Cassie in her missions. That’s not an instrument that everyone really likes; and it has a very breathy, soulful quality that’s actually not a million miles away from a voice. When it’s very low, it delivers a feeling of judgment — of justice being served. So that was a really fun instrument to play with.CS: How do you come up with your themes and your rhythms or motifs? I’ve heard other composers say they’ll be walking in the grocery store and something comes to them. Has that happened to you?Willis: It’s a really great question. I think that melodically composers tend to have the things that appeal to them in terms of how they tell a story. So, you have the kind of stylistic instinct of how you like to put notes together, and how you like that through line to develop. So, I think, yeah, a lot of it does happen subconsciously while you’re in those situations — you’re on the call, you’re on a bike ride. For me, for Promising Young Woman, I was very much thinking about the movie and I had this feeling from Carey Mulligan’s performance, and this sadness, you know, lost hope. And that sat with me. I didn’t have the theme completely as it is now. That probably took a day or two to come into focus. But I definitely think you’re amiss as a composer not to pay attention to those little moments where your mind is on something else, and then If something pops in your head, keeping track of it.Some people used to say, ‘Oh, if you don’t remember it later than it wasn’t any good.’ I’m not sure I believe in that. It will come back to you if it’s really something that your brain is subconsciously marinating over. But, yeah, it’s always a scary process, because it’s such a defining one. You’ve set so many things in motion. So, I’m always a little tentative with the idea, and in that moment, it’s always a bit fragile — the idea of, ‘Oh, well, if I turn the wrong way, I’ll blind myself from seeing what this could have been.’ But it’s a great question, because it is such an abstract thing.Obviously, I think there’s qualities in the theme that will be important, depending on its narrative and application — and be able to apply the right kind of harmony. I like to write themes that they imply a clear harmony, but they’re also harmonically malleable, which is the case of Cassie’s theme in Promising Young Woman. In fact, her theme is really introduced as a thriller theme, and then ultimately becomes a very romantic fairy tale theme. It’s even in that cue that you mentioned, when Cassie was talking to Nina’s mom. I like to have cells that I can manipulate and do different things with. So, it’s really wonderful to do something that John Powell, who’s been an amazing mentor to me, and taught me that you want to be able to take a theme and manipulate into different places.CS: Do you ever worry about over scoring a film?Willis: It really depends on what the director’s drawing from. And I think that with Promising Young Woman, you want the audience to really feel the music; and want it to enhance the the story. And in in some cases, and some films, like for example, How to Train Your Dragon — I did the holiday special a few years ago —that’s something where you really want the music to be right up here, and to be right next to the animation in terms of people’s focus. And then, in more contemporary films that strive for more realism, now you want the music to be very subconscious. In Promising Young Woman, the overarching musical choice that Emerald made is to use irony very heavily, I mean, in the way that she uses pop songs — “Raining Man,” for example — it’s all about boys, and you’re hearing the soundtrack of what a film 20 years ago might have been like, but you’re seeing the perspective from a different angle. You’re seeing those angles that have previously been covered up. So, I think that the score is similar. I think Emerald really wanted to play with the audience in terms of what film that they were in.GABRIEL HAYS — SECRET MAGIC CONTROL AGENCYDid you ever imagine Hansel and Gretel would become top agents for the Department of Magical Security after escaping the Witch’s gingerbread house?Yeah, me neither…But that’s exactly what happens in Secret Magic Control Agency, scored by Gabriel Hays (Disney’s Star Darlings), coming to Netflix March 23rd.The new Wizart Animation feature film merges the unlikely genres of “fantasy fairy tale” and “spy mystery”, which created unique challenges for Hays to solve in the score. Whereas spy music is typically mysterious with serious swagger; the fantasy side of things typically feels more mystical, otherworldly, and EPIC.Yet Hays pulled from both seemingly disparate genre traditions to compose the perfect score for the film. He found that both types of music shared some commonalities – a sense of uncertainty, but also adventure and discovery; themes which lent themselves well to this modern take on classic characters – full of fun, whimsy, and heart.ComingSoon.net: What drew you to Secret Magic Control Agency?Gabriele: Secret Magic is a really interesting story. I guess everyone is pretty much familiar with the fable of Hansel and Gretel — two orphans get captured by the evil witch in the forest. And that’s the leaping off point for where this story goes, because I’m not sure how much you know about it, but in the Secret Magic Control Agency, they are actually secret agents; and they’re adults, at least when the movie starts. So, a lot of things wrapped up in there. And it’s a pretty interesting story just to try and wrap your head around, but then what does the story mean for the music? That also really quickly jumped to the front of my mind.CS: So, you’re merging two genres together, you’re merging fantasy fairy tale and spy mystery. How does your music cater to each genre? Did you find it difficult merging the two genres?Gabriel: Great question. Yeah, it was a bit of a challenge to figure out how to do it. You know, I think the first thing to me was to have a good think about what each of those genres mean to me from a stylistic standpoint, and dramatic standpoint. I think one thing they share in common is a sense of mystery. In fantasy, you’re usually on a on a quest, and in spy movies, there’s a different kind of quest, it’s like trying to solve a whodunnit. And so, you’re solving things in both. So, there’s a certain commonality, and a shifting energy. I try not to get too nerdy on the music side of things, but it was melodically really thinking of it from a fairy tale standpoint, and then from the support side of it, thinking of it a little more from the spy side of it, if that makes some sense.CS: What is the process of scoring an animated film like? When do you come into the production? How much time do you have to score the film?CS: One real nice thing about animation from a composer standpoint, is that you do get the cut of the film early, and they don’t change as much as a live action film might change, because once they get the story and the dialogue recorded, there’s so many different processes that have to happen before it gets finished, music being one of them, but of course, finishing the animation and things like that. So, I did have a good time to work on it. But, inevitably, it’s still a big push at the end, no matter what, you’ve got to work through it. You find themes and develop them and sometimes they move around a little bit in the in the film. Like you write it in one place and realize, oh, it can also work really well over here or another place, things like that.CS: How much creative freedom do you have on an animated picture? Are you given absolute freedom or are the powers-that-be giving you very precise instructions on how to score the film?Gabriel: In this case, it was a combination of both. I think one thing that we realized pretty early on, as I started working on different parts of it, is that they really had a lock the themes that everybody felt were right for the movie. So, on that side of it, what happened was, I started writing various things on the piano. Usually, sometimes I do a little bit more, but generally just the piano, and then send those ideas to them. And we’d have a back and forth about which parts of it were working and which direction to go. We arrived on basically one or two main themes that have similar qualities in terms of how they work. And those became the main anchor of the film. And once we had that, that helped quite a bit. But then they had a lot of sense of pacing, like, how they cut the cut the movie, so you really have to pay a lot of attention to how they cut; and how they animated — the animation was very lively, so you really have to pay attention to that pacing that they were sending my way. It was a nice balance between the two, I definitely had a lot of freedom to explore, though.CS: How difficult is it to score an animated film in which you have to hit specific actions made by characters, versus live action?Gabriel: Generally, I’d say yeah, it’s a little bit denser in terms of the music, it changes a lot more often. In terms of hitting things on screen, that’s something you have to feel out on a given project. And you can think of like the old, as they call it, Mickey Mouse-ing techniques, which is — like, Looney Tunes — when you hit every little gesture, right? But a lot of times, especially if it’s like an action thing that you know, is kind of pretty natural. But then a lot of times you’re trying to get the overall mood being — that’s the most important thing, the overall feeling while still catching important moments.CS: What drew you to the world of film scoring? How did you get involved with it? How did you know if this was the career that you wanted to do?Gabriel: You know, I would say for me, as soon as I really got into writing or music, it was always an aspect of what I was interested in, but it wasn’t the only thing. You know, I started writing music, kind of from right away when I first started taking piano lessons as a kid, I started writing right away. Over the years, you get better as you study and improve. But I wanted to go do music just for myself for a while. And I did that. I lived in New York for about 10 years in my 20s. And then, and at some point, I just always had in the back of my mind that I was interested in scoring film and it might be something I really wanted to go for. And that happened when I was in New York. So, I actually went to NYU and within it, they have a graduate program there that I went to and that was really helpful. I learned a lot there and met some great people and then from there it was pretty much just knew that, but it was on to Los Angeles. Film is also just something I always loved as a kid. I would say it was my second love of mine. In addition to doing music, I did theater in high school. I directed a play and was part of theater for a long time. So, it was always a second strong interest to me with music. And so, getting to basically do filmmaking, but the musical part of filmmaking was something that felt really natural for me.

    Netflix’s Lost Ollie Sets Ensemble Cast Including Groff, Rodriguez & More!

    Netflix’s Lost Ollie sets ensemble cast including Groff, Rodriguez & more! After announcing development on the live-action/CGI hybrid series late last year, Netflix has set an ensemble cast for Lost Ollie that is set to include Jonathan Groff (Frozen II), Gina Rodriguez (Carmen Sandiego), Mary J. Blige (Trolls World Tour) and more. RELATED: Shadecraft: Netflix Developing Series Adaptation From Lucifer’s Joe Henderson LOST OLLIE – a heartwarming story about a lost toy searching for home – is excited to announce the cast for the upcoming family limited series! Find out more about the cast belowpic.twitter.com/wuyFQ2HaTy — Netflix Family (@netflixfamily) March 9, 2021 The limited series, created, written and executive produced by Shannon Tindle (Kubo and the Two Strings), is inspired by William Joyce’s Ollie’s Odyssey and centers on a lost toy on an epic adventure, searching across the country for the boy who lost him, and the story of the boy who lost more than a best friend. A heartwarming journey to reunite in the face of all the dangers that childhood can throw at them. Groff, who previously worked with Netflix on the acclaimed crime thriller Mindhunter, will star as Ollie, a handmade toy rabbit stitched together from odds and ends.  Ollie has a pure spirit with a heart of gold and never ruins a chance to make friends.  He’s been best friends with Billy since forever, until one day he ends up in a resale shop with no way home.  Though he’s often afraid of the unknown, Ollie puts on a brave face and sets off to find Billy, meeting other toys to help him along the way Blige, who was nominated for an Oscar for Best Supporting Actress in the historical drama Mudbound and starred in the first season of The Umbrella Academy, will voice Rosy, a raggedy teddy bear stitched together from other toys.  Rosy is a fearless warrior who is deeply passionate with inspiring confidence.  While unsure of Ollie at first, she becomes an important ally as she joins them on their journey. Click here to purchase Joyce’s iconic novel! Tim Blake Nelson, coming off of HBO’s acclaimed Watchmen series and playing the titular role in Netflix’s The Ballad of Buster Scruggs, will appear as Zozo, a clown doll who is an old toy and an even older soul.  Zozo is a true gentleman with a good sense of humor, and after meeting Ollie and hearing his story, he agrees to help Ollie on his journey. Rodriguez, who led the streamer’s recently-concluded Carmen Sandiego animated series and recurs on Emmy-winning adult animated series Big Mouth, will star as Sharon aka Momma, Billy’s mother, a loving woman who inspires creativity and imagination in her son. She makes sure to cherish their time together, teaching Billy all the things he’ll need to know to find happiness in the future. Jake Johnson, who led Netflix’s short-lived Hoops, will star as James aka Daddy, Billy’s father, who is overworked and stressed, doing his best to take care of Billy and his wife, Sharon. Sometimes that stress leads to being short with Billy, but he’s doing all he can to make a good life for his son. Kesler Talbot, who recently appeared in the now-defunct-Quibi’s horror anthology 50 States of Fright, will play Billy, a young boy with a mind bursting with creativity. He shares a magical bond with his toy Ollie, a homemade rabbit made by his beloved mother, who joins him on all of his adventures. When Ollie gets lost, Billy embarks on a mission to find him. RELATED: Mila Kunis to Lead Netflix’s Film Adaptation of Luckiest Girl Alive Lost Ollie, consisting of four 45 minute episodes, is being helmed by Peter Ramsey, who previously worked with Johnson on Spider-Man: Into the Spider-Verse, who is also executive producing alongside Tindle, Shawn Levy and Josh Barry via 21 Laps Entertainment (Stranger Things), Brandon Oldenburg (CCO of Flight School Studio) and Lampton Enochs with Emily Morris serving as co-executive producer. Production is currently underway in Vancouver, Canada on the project with Industrial Light & Magic (The Mandalorian) handling the CGI characters for the series. (Photo Credits: Getty Images/Netflix)

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