ITV has unveiled the judges for Season 10 of The X Factor UK with Sharon Osbourne returning to the show. She’ll join Gary Barlow, Nicole Scherzinger and Louis Walsh. Osbourne was last on the Simon Cowell series in 2007. Last year’s season nine finale hit a low in December and it’s been expected that a revamp was afoot. There will be new double auditions, one set in front of the judges “in an intimate audition room” and the second again with the judges, but in an arena. The auditions kick off on June 4.
The Cannes Film Festival is over for me, and when I come to a place like this, I find myself asking, where are the next stars coming from? Between Fruitvale Station’s Michael B. Jordan and writer-director Ryan Coogler, and Inside Llewyn Davis’ Oscar Isaac, I feel like I got three answers to that question over the course of a weekend.
I come to Cannes primarily to chase deal stories, as I do in Toronto and Sundance. At those other two, the threat of transactions leaves me confined to a hotel room waiting for action. The sporadic action here allowed me see movies and stroll down a rain-soaked Croisette. The drivers here are entirely dangerous in their tiny cars; one driver trying to turn came so close to plowing into my leg that I had to pound his hood with my fist (luckily I didn’t damage my typing finger, which would have cut my output in half). I also made time to see movies including Fruitvale Station, Inside Llewyn Davis, and Behind The Candelabra. While Steven Soderbergh ends the movie-making part of his movie career 24 years after it began here when he won Palme d’Or in 1989 for sex lies & videotape, the road is just beginning for Jordan, Coogler and Isaac. Based on the films I saw here, each has a long drive ahead.
I spoke briefly with Isaac following the Inside Llewyn Davis premiere and jokingly asked him how they possibly could have overlooked him for Les Miserables, given his remarkable singing chops. He seemed jolted for a moment and then smiled as I did, because we both knew this was much, much better. Joel and Ethan Coen created a tour de force folk-singer role for him that any actor with pipes could only dream about. “This might sound cliché, but I feel like I’ve been training 33 years just for this movie,” said the 33-year-old actor. Judging by the talk I overheard between CBS Films and Isaac’s reps about keeping room in his late-year schedule for Oscar-season stumping, Isaac wasn’t overstating the case.
Coogler, meanwhile, is a 27 year old who hails from Oakland, and who got a football scholarship and then went to study film at USC. He found his feature debut in the story of Oscar Grant, the young man whose accidental shooting by roughshod cops atop a train platform created national outrage. Jordan plays Grant and to watch him, Coogler and their cohorts staring wide-eyed at the Cannes premiere crowd at the Palais was charming. A standing ovation must have lasted 10 minutes, and I can’t recall a movie where I saw so many audience members in tears, a remarkable accomplishment since so many absorbed the dialogue through subtitles. Much of the movie’s power is Jordan’s engagingly accessible screen persona, but a lot of credit goes to Coogler. As I and other journos milled around him, I could see Coogler bristle when they put him in the “black filmmaker” category, and it doesn’t surprise me that one reason Harvey Weinstein won Fruitvale Station over other bidders is that he was the only mogul who, when speaking to Coogler, drew parallels to films like The Bicycle Thief, classics Coogler studied in school. Coogler made more right decisions in this movie than is usual for a first-time feature director. His best one: making this a family story and not an angry urban polemic. It makes Oscar’s tragedy relatable to anyone who has abruptly lost a loved one (it hit me like a sledgehammer). As for the Cannes adulation, Coogler was overwhelmed, but applied a lesson learned on the football field when he was a wide receiver. “You constantly remind yourself over and over to concentrate on catching the ball and securing it first, before you try to run with it.” It is all about attention to technique and detail, he said, and he’ll take his time figuring out the next film. It will be something he can make personal, the way he did Fruitvale Station.
NEW YORK — May 20, 2013 — Deborah Turness, former editor of ITV News, the United Kingdom’s most-watched commercial network news service, has been named President of NBC News. It was announced today by Pat Fili-Krushel, Chairman, NBCUniversal News Group.
Turness joins CNBC President Mark Hoffman and MSNBC President Phil Griffin as part of the NBCUniversal News Group leadership team reporting to Fili-Krushel. She will be based at the NBC News headquarters at 30 Rockefeller Plaza and begin her new role on August 5.
As President, Turness will be responsible for all aspects of the NBC News division including the programs “NBC Nightly News with Brian Williams,” “Today,” “Meet the Press,” and “Dateline” as well as its news bureaus around the world. She will also oversee all breaking news, investigative and enterprise reporting, along with the division’s digital properties including NBCNews.com. Additionally, she will have oversight of Peacock Productions, an award-winning in-house production company.
Following a relatively new tradition they started a few years ago, The Weinstein Company on Friday night brought together a group of buyers, partners and press to preview its 2013 slate and meet filmmakers and stars. Although Harvey Weinstein never once mentioned the word “Oscar”, you can tell that’s definitely what he is thinking with a diverse mix of prestige projects that should give the awards-happy company lots of campaign fodder for 2013. He said after a rocky start the company has had a very good last four years and for 2012 made more than they ever did at Miramax. He also made a plea to the international audience gathered for the presentation at the Majestic Hotel for the continued independence of European filmmaking, especially in light of problems with the European Cultural Initiative. “We can’t let Europe be the same like the United States. What’s great about European movies is they are different and as long as they reflect their culture there will always be special movies like Amour, which we didn’t release last year, and so many movies like that. So keep your eye on the newspaper when this stuff comes up for votes or things we can do to influence it, I think it’s very important,” he said.
After the 40-minute reel led by the August 16th release The Butler and ending with the long-gestating Mandela: Long Walk To Freedom, Weinstein told me, “It’s a very eclectic, hard-hitting lineup that I am really proud of. What am I going to say? I feel very confident about this year”. Though he may not have been directly making an Oscar-season pitch (thankfully that’s still many months off even for Harvey — well, maybe not), he did make an overt plea for his official competition entries Only God Forgives and The Immigrant when introducing Cannes jury member Nicole Kidman, star of the December 27th release Grace Of Monaco. “We have a member of the jury with us tonight and she has to go for a jury meeting to hopefully decide which movie of mine wins the Palme d’Or. I have certainly given Steven (jury president Spielberg) enough money over the years,” he said to big laughs.
ITV Studios Global Entertainment has commissioned the second series of Sundance Channel’s original prod Rectify for distribution on all Sundance Channel Global networks throughout Asia and Europe. The territories include Turkey, France, Iberia, Benelux and CEE. Rectify follows the life of Daniel Holden (Aden Young) after his release from prison after serving 19 years on Georgia’s Death Row. Abigail Spencer, Clayne Crawford, Adelaide Clemens, J. Smith Cameron and Luke Kirby also star. Rectify was created and written by Ray McKinnon (The Accountant, Deadwood, Sons Of Anarchy) and executive produced by Gran Via’s Mark Johnson and Melissa Bernstein (Breaking Bad). It debuted on April 22 on Sundance Channel US.
‘The Fall’ Is BBC Two’s Best Drama Launch In 8 Years
The Gillian Anderson-Jamie Dornan psychological drama The Fall became BBC Two’s biggest drama series launch since 2005, winning its slot with an average audience of 3.5M and 15.4 share, peaking at 3.6M. It was the channel biggest drama debut since Rome and also beat the BBC Two slot average of 1.79m (7.4%) for the past 12 months. Written by Allan Cubitt and produced by Artists Studio, The Fall follows a police investigation uncovering the intricate story of the lives touched by a series of murders — both the killer’s and the victims’ families.
CBS Films has overhauled under Terry Press and Wolfgang Hammer who were named co-presidents about a year ago. At the time, CBS Corp. president and CEO Les Moonves said, “They both possess the ‘roll-up-your-sleeves’ attitude for making, acquiring and marketing quality films for a division that is small in size, but laser-focused on assembling a mix of home-grown productions and acquisitions across a diverse range of genres.” Demonstrating its mettle here in Cannes, the company has the very high-profile Coen brothers movie Inside Llewyn Davis in Competition. It acquired the film in February after a screening on the Sony lot attracted lots of interest and created a competitive situation. CBS spent close to $4M to seal the deal. The movie will be a big part of CBS’ presence in Cannes, but that doesn’t mean the company isn’t looking to buy. It’s releasing about four to six pictures a year and has the flexibility to work across any genre. Although it has never acquired a foreign language film, it’s not out of the question, I’m told. Previous pick-ups include Lasse Hallstrom’s Salmon Fishing In The Yemen, horror hit The Woman In Black and Martin McDonagh’s Seven Psychopaths.
Related: Cannes: Actors To Watch
Cannes buyers had plenty of screenings to choose from today but the hottest movie on the Croisette right now is Philomena — or at least the seven minutes that were shown to buyers this morning. This is the Stephen Frears-directed movie that stars Judi Dench and Steve Coogan and is the true story of an Irish woman who searches for the illegitimate son she gave up for adoption in the U.S. I am hearing that The Weinstein Company is in exclusive negotiations for the pic for U.S., Canada and Spain distribution rights, this after Focus Features stepped out of the bidding. The wild part: the bidding is based on a morning screening of partial footage to domestic buyers, and the action is currently at $6.5 million for a film said to cost around $18 million. That is a shockingly high number for a teaser reel, but everyone I spoke to who saw it was knocked out. The pic is being sold directly by Pathe’s Muriel Sauzay, and a deal could make this evening even as everybody heads off to movies and dinner parties.
Deadline’s Nikki Finke broke the story over the weekend that Bruce Rosenblum was leaving his post as head of Warner Bros Television. Warner Bros CEO Kevin Tsujihara confirmed Saturday night and made it official today with a release and a memo to staff from he and Warners chairman Barry Meyer. The restructuring (see below) at the TV division, as expected, includes expanded duties for Peter Roth who is now president and COO. Here’s the memo that went around:
In his 25 years at Warner Bros., as all of you know, Bruce helped build one of the world’s most successful global television production and distribution operations. With his great energy, skill, creativity and vision, Bruce – and the strong team he has built around him – was responsible for some of the most popular and successful television series of all time, including “Friends,” “ER,” “The West Wing,” “Two and a Half Men,” “Two Broke Girls,” “The Ellen DeGeneres Show” and “The Bachelor.”
Bruce has been a vital member of the Warner Bros. family and a good friend to so many of us, and he will be missed.
Please join us in congratulating Bruce for his remarkable tenure at the Studio and wishing him great success as he embarks on the next chapter of his career and life.
Here are the details of the restructuring from today’s release:
CANNES: Hollywood excess hasn’t disappeared entirely from the 66th Festival De Cannes. But it will be limited to a few studios. Warner Bros is bringing Baz Luhrmann’s lush The Great Gatsby to town for opening night and a gala event. Lionsgate is organizing a beach blowout to promote Catching Fire even though it doesn’t release until November. Fox is making a big deal of the 50th anniversary of Cleopatra, partnering with Bulgari jewelers for a reception displaying pieces from Elizabeth Taylor’s personal collection after a screening of the movie’s new restoration. Even the Cannes jury met for the first time last night, rather fittingly, for dinner at the Palme d’Or restaurant in the Martinez Hotel where the chef prepared a meal inspired by jury president Steven Spielberg’s films. And of course, billionaire Paul Allen’s yacht is expected to turn up in the bay with his annual super-exclusive party falling on May 20. But it’s not all champagne and bikinis on the boats. One exec who’s on a monster yacht each year at Cannes tells me it’s a cost-efficient way to do business rather than just a showy splurge. And even though some Cannes parties can cost $3 million, Warner Bros opened its wallets.
One executive calls it ”a victory lap” for The Great Gatsby after grossing way above expectations in North America. Now the studio wants to generate buzz internationally for the film adaptation of this most American of novels. No problem, because the rules state a movie can be released in its own country and still have its international premiere at Cannes. So Warner Bros is using this glitzy platform to open in 49 territories on the weekend including France, UK, Germany, Spain, Italy, Russia and Korea.
The full cast and filmmakers will attend tonight including Leonardo DiCaprio, Carey Mulligan, Tobey Maguire, Joel Edgerton, Isla Fisher, Elizabeth Debicki, Bollywood legend Amitabh Bachchan, producers Lucy Fisher and Doug Wick, and several studio bigwigs led by Warner Bros Pictures chief Jeff Robinov. In 2001 Luhrmann opened the festival with Fox’s Moulin Rouge and one of the most memorable soirées, replete with Can Can girls, trapeze artists and Fat Boy Slim as deejay. The Gatsby after-party will evoke the Roaring 20s with help from partners Samsung, Tiffany, Moët, Brook Brothers and Chivas. There’s a gargantuan structure the size of an airplane hangar set up on a jetty across the port from the Palais where locals are already lining up for the screening Wednesday night. On Thursday night, the Gatsby party structure will be home to a soirée for about 800 locals. This isn’t an official festival event; rather it’s organized by the town each year and Warner Bros agreed to leave up the Gatsby décor for it.
Cannes: Bold, Blumhouse, Right Of Way Strike Up Band For Feature Version Of Sundance Short ‘Whiplash’
EXCLUSIVE: Bold Films, Blumhouse Productions and Right of Way Films are teaming up to bring Damien Chazelle‘s Sundance Prize-winning short Whiplash to the screen as a feature. Bold Films will fully finance the film. Chazelle was basically dared by Right of Way and Blumhouse to direct a short based on his Black List script about a talented young drummer who strives for perfection under the instruction of a ruthless band conductor. That short was produced by Reitman’s partner Helen Estabrook and Blumhouse EVP Couper Samuelson, along with Nicholas Britell and was awarded the 2013 Sundance short film jury prize. J.K. Simmons will reprise his role from the short and star in the feature. WME Global is repping domestic rights and Sierra/Affinity is selling offshore territories.
CANNES: Below I’ve compiled this year’s list of what Cannes films are most often being mentioned by potential buyers. But already there’s been a bit of action in the marketplace, with Warner Bros acquiring domestic on the Ryan Gosling-directed How To Catch A Monster. Sellers feel a good appetite for deal-making is in the air. “This has been the busiest month we’ve had going into a Cannes Film Festival. The frenetic activity has never been this intense,” said Roeg Sutherland, who runs CAA’s independent film operation with Micah Green. “It’s not that a lot of new companies are jumping in like they did last year. But we’re seeing those companies coming back here with good slates, which is the healthiest thing for everybody.” I can tell you that sellers this year are cautiously optimistic this Cannes market will be closer to 2011′s when sales were made on the basis of sizzle reels. (Harvey Weinstein made a big bet on The Iron Lady after watching seven minutes of Meryl Streep as Margaret Thatcher, and John Hillcoat’s Lawless and Rian Johnson’s Looper sold on the basis of preview reels as well.) Not even rain in the forecast for the next couple of days can depress the upbreat attitudes here. After all, at last Cannes, the sellers market on the Croisette belonged to the umbrella salesman getting 40 Euros a pop in a nonstop torrential downpour that put a figurative damper on the entire market. We all known you cannot measure the success of Cannes the way you can Toronto and Sundance. If buyers don’t buy, sellers are in trouble. Here, a chance conversation with a high net worth individual can make the whole Cannes experience worthwhile. This is a festival of intangibles, and players have to make the time to hustle at the Hotel Du Cap where the billionaire investors roam and the movie stars are stashed until they have to come to the Croisette for premieres. That’s as glitzy as it gets here, but sellers and buyers tell me they do most of their business over a drink at the Carlton and Majestic Hotels, and to a lesser degree the Martinez. Agents especially have “how I won the war” Cannes stories of unexpected encounters that turned into game-changing deals.
“Beyond the competition and the exposure that is so good for the careers of your clients, it is an important place to create a moment that leads to films getting financed,” said UTA’s Rich Klubeck. “Two years ago, we met with the guys at Studio Canal who’d said they missed being in business with Joel and Ethan Coen. We had another meeting in New York and they wrote the check for Inside Llewyn Davis, which premieres here. It could not have been a better situation. They have proven to be perfect partners.” That deal allowed the Coens and producer Scott Rudin to shoot the 1960s folk movie without pressure to find early domestic distribution. The picture went to CBS Films after the filmmakers showed the finished product to a crowd of buyers. “We got to take our time, hear the marketing plans offered by each distributor, and pick the perfect situation,” Klubeck told me. “This is a good place where a lot of stuff happens.”
After two years in a row of heavily influencing the Oscar race, the 66th Cannes Film Festival lineup may make it three this year. Certainly I see very long and winding Croisette lines to pick up press or market credentials at the Palais, which is adorned with posters of Paul Newman and Joanne Woodward in a provocative still shot from their fluffy France-set 1963 comedy A New Kind Of Love. One early clue came when the jury was announced, beginning with President Steven Spielberg and including such Oscar winners as Ang Lee, Nicole Kidman and Christoph Waltz. And if it’s not enough to have those icons prominent at this year’s fest, add The Great Gatsby‘s Baz Lurhmann whose film is the opening night event with a gala after-party, and Martin Scorsese who will also be in town for a yacht party announcement of his longtime gestating directorial effort Silence on May 16th. Certainly many of the Cannes contenders both in and out of competition are from Academy Award winners and Cannes veterans back with intriguing films that make up a high profile and potent selection with advance buzz. Competing are the Coen Brothers, Steven Soderbergh, Roman Polanski and Alexander Payne plus a slew of famous names in front of the cameras both on screen and on the Red Carpet this year.
As for the competition and key sidebars, one perennial Cannes question os whether it’s a good idea to ready or even rush a film designed for year-end release in order to play at the Festival in May. Particularly of that means risking negative reviews which can be a real buzz killer. Take, for instance, Payne’s last minute entry Nebraska from Paramount, which almost didn’t appear here. In the initial forecast Deadline posted on March 13, we thought Payne’s film fit in with the auteurist nature of the fest, it’s in black and white, and its filmmaker is quite a favorite in Cannes. (He has had only one film previously in competition – 2002′s About Schmidt – and won no prize, but he not only headed the jury for Un Certain Regard in 2005 but also was a member of the main competition jury last year.) Yet shortly after this prediction I was told Cannes wasn’t in the cards due to Payne’s fondness for long post-production time. He didn’t want to be rushed. Then the studio saw the film about a week before the Cannes deadline and execs urged Payne to put it into the festival. He took Nebraska to Paris to show to Cannes programming honcho Thierry Fremaux with just two days to go before the press conference announcing the 2013 lineup. Now it is one of the most anticipated screenings even though it ooccurs towards the end of the Festival on May 23. Paramount claims it recently had a successful research screening in Pasadena and has dated the film for November 22nd, right in the heart of Oscar season (Payne is a two-time Screenwriting Oscar winner for Sideways and The Descendants).
Conversely there was absolutely no doubt Joel and Ethan Coen would be bringing their latest, the 1960′s-set Greenwich Village folk music tale Inside Llewyn Davis screening on May 19. It is their 8th time around this particular block so they are virtually Cannes regulars. CBS Films won’t release the movie stateside until December 6, another prime Oscar date.
Roman Polanski’s Venus In Fur screening on May 25 on the last day of competition is the adaptation of the Tony-winning Broadway play. It brings Polanski back to Cannes for the first time since winning his only Palme d’Or (for 2003′s The Pianist, which resulted in a Best Director Oscar). It stars his wife Emmanuelle Seigner and Mathieu Almarac and though audiences and critics weren’t too impressed with the last Polanski Broadway play adaptation God Of Carnage, this dramatic work could be more up his alley. There’s also strong interest in French director Arnaud Desplechin’s Jimmy P: Psychotherapy Of A Plains Indian screening May 18 largely due to lead actor Benecio Del Toro’s role as a Blackfoot Indian WWII vet. (But someone’s gotta change that lumbering title.) Cannes watchers also are buzzing about new works from three directors who are no strangers on the Croisette: Nicolas Winding Refn who won Best Director in Cannes for 2011′s Drive and has re-teamed with star Ryan Gosling as a drug smuggler in the May 22nd entry Only God Forgives. (I am told Kristin Scott Thomas steals this one as his mother). And though his films don’t make much noise in theatres, James Gray is a Cannes favorite and back with his fourth competition entry, The Immigrant (formerly called Lowlife) screening May 24th with a starry cast of Marion Cotillard, Joaquin Phoenix and Jeremy Renner. Jim Jarmusch brings his new Vampire story Only Lovers Left Alive which stars the always intriguing Tilda Swinton, Tom Hiddleston and Mia Wasikowska . It has the distinction of being the last film to make the list and the last competition film to be screened: in the 10 PM slot on May 25th.
As always with Cannes there is just too damn much to see with many sidebar competitions like Un Certain Regard, Director’s Fortnight, Critics Week, Cannes Classics and so on. Certainly the opener for Un Certain Regard, Sofia Coppola’s The Bling Ring and Ryan Coogler’s Sundance sensation Fruitvale Station (summer releases stateside) are both screening on the sidebar’s first day of May 16th and are instant must-sees in addition to James Franco’s directorial outing, As I Lay Dying, on May 20th.
PBS has scheduled the eight-week run of the hit English period drama to run through the end of February, Masterpiece executive producer Rebecca Eaton said today during the PBS Annual Meeting. Downton Abbey is the highest-rated drama in PBS history after its third-season finale drew 8.2 million viewers on February 17, a 50% increase from the Season 2 ender. The timeframe for the PBS airdates falls similar to last year, coming after the fall run of the series on ITV in the UK. The big ratings bumps in the U.S. were notable given the high-stakes spoilers that were parading around the Internet while the show was airing across the pond ahead of its U.S. broadcast. ITV doesn’t announce its schedule until a couple of weeks before shows debut, but a September run there is likely again for the Carnival/Masterpiece co-production.
In its second buy into a U.S. production company in less than six months, ITV has acquired a controlling interest in Cake Boss producer High Noon Entertainment. In December Duck Dynasty maker Gurney Productions sold a controlling stake to ITV for $40M. In the High Noon deal, ITV will pay $25.65M upfront for 60% of the company with a further payment in 2015 contingent on High Noon’s performance. In keeping with the way it structures most of its acquisitions deals, ITV also has a put and call option to buy the rest of the company which can be exercised in four-six years.
BAFTA handed out its TV prizes tonight in London with Olivia Colman taking two awards, one for supporting actress for BBC miniseries Accused and the other as actress in a comedy program for Olympics sitcom Twenty Twelve, which was also named best sitcom. Colman will soon be seen by U.S. audiences in ITV’s recent hit drama Broadchurch. Ben Whishaw was best actor for Neal Street Productions co-production with NBC Universal and WNET Thirteen/BBC Two, Richard II (Hollow Crown), and top comedy actor was Steve Coogan for Sky Atlantic‘s Welcome To The Places Of My Life. The best drama series was the BBC’s Last Tango In Halifax while HBO‘s Girls was named best international show. Coming into the evening, the BBC and HBO’s Hitchcock film The Girl was among the most nominated programs, but went home empty-handed. Downton Abbey had no nominations. A full list of winners follows:
Michael B. Jordan (Friday Night Lights) stars in Fruitvale Station as Oscar Grant, the 22-year-old Bay Area man whose fatal 2009 shooting by Oakland BART police sparked outrage and protests against police brutality. The Weinstein Co. nabbed Ryan Coogler’s directorial debut out of Sundance for $2 million before it won the fest’s U.S. Grand Jury Prize and Audience Award. Now the pic’s set for a July 12 release, eyeing awards season. Check out the trailer:
Gordon Ramsay‘s worldwide restaurant empire is in shambles with splashy eateries closing left and right or sitting empty. But Fox continues to prop up his image by signing a new multiyear deal with the bad-tempered, foul-mouthed chef and ordering a new Masterchef spinoff for the 2013-2014 season as well as additional season orders for Hell’s Kitchen and Masterchef. This now brings to five the number of stale Ramsay shows which Fox will air, demonstrating how unscripted TV czar Mike Darnell is utterly devoid of new ideas and new faces:
FOX has picked up JUNIOR MASTERCHEF, a new culinary competition series for talented kids between the ages of eight and 13 who love to cook, as part of a new multi-year deal with award-winning chef Gordon Ramsay, it was announced today by Mike Darnell, President of Alternative Entertainment, Fox Broadcasting Company.
As part of Ramsay’s new deal, FOX also has picked up one additional season of HELL’S KITCHEN and two more seasons of MASTERCHEF. The deal will extend HELL’S KITCHEN to a 13th season and bring MASTERCHEF to a fifth and sixth season. The addition of JUNIOR MASTERCHEF brings the total number of Ramsay-led shows airing on FOX to five, including MASTERCHEF, HELL’S KITCHEN, HOTEL HELL and KITCHEN NIGHTMARES.
It looks like NBC will be handing its venerable news division to a Brit. Deborah Turness, the editor of ITV News, is expected to become the first female president of NBC News, replacing Steve Capus. Turness has led ITV News since 2004 and has a penchant for pushing the envelope. (She once put a young female anchor in a very short skirt reading the news perched on a desk). Chatter about Turness’ imminent hire intensified over the past 24 hours, with reports starting to pop up in the British press.
Cannes Briefs: Epic’s ‘Thale’ Sequel; Osiris’ ‘The Kill Hole’; Darclight’s ‘Contracted’; Simon Cowell’s ‘Pudsey’; Ridley Scott’s ‘Get Santa’; More
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Epic Sets English-Language ‘Thale’ Sequel
Epic Pictures is partnering with Norway’s Yesbox Productions to finance and produce an English-language sequel to Norwegian thriller Thale. The sequel will be written and directed by Thale‘s Aleksander Nordaas. Patrick Ewald and Shaked Berenson are producing alongside Bendik Heggen Strønstad of Yesbox. Thale appeared in Toronto and SXSW last year and told the story of two crime-scene cleaners who discover a tailed female creature in a concealed cellar who has been held captive for decades. Thale was based on a mythical character in Nordic folklore called the “huldra,” a beautiful creature with female attributes that is said to seduce men by humming a beautiful song, but the men never return to their villages. Epic’s Patrick Ewald says the budget will be upped for the sequel “so that Aleksander and Bendik’s vision can be accomplished on a grand scale.”