The UK film industry has to change. It’s blatant racism | Steve McQueen

The Oscar-winning director of 12 Years a Slave reflects on lack of diversity in TV and film and says now is the time for real change

Last year, I visited a TV-film set in London. It felt like I had walked out of one environment, the London I was surrounded by, into another, a place that was alien to me. I could not believe the whiteness of the set. I made three films in the States and it seems like nothing has really changed in the interim in Britain. The UK is so far behind in terms of representation, it’s shameful.

My first film production in the UK in 12 years is Small Axe, six films commissioned by the BBC about black experience from the late 1960s to the mid 1980s. We tried very hard on Small Axe: we created our own training scheme with one trainee per department. But, in terms of heads of departments, it was just myself and a couple of other people who were black British.

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Yesterday credits row shows trouble’s never far away in film writing

Jack Barth’s claim he did not receive credit he deserved shines light on movie industry machinations

As a premise, it is surprisingly simple: a young musician who is the only person in the world to know the Beatles’ back catalogue forges a successful career by covering their songs. But the more complex question of who should get credit for the Hollywood movie it became has put the opaque machinations of the film industry in the spotlight.

The idea ultimately became Yesterday, the Richard Curtis film directed by Danny Boyle and starring Himesh Patel, which made more than £125m at the box office worldwide. But Jack Barth, a writer whose work has appeared on The Simpsons, claimed last week he had not received the full credit he said he deserved for writing the original screenplay that provided the basis for the film.

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Netflix and Disney to shut down productions due to Covid-19 but Frozen sequel to arrive early to streaming

Disney chief says animated film will provide ‘fun and joy during challenging period’ while company halts production on live-action movies

Walt Disney will fast-track the release of the Frozen sequel to its streaming platform in a bid to spark “fun and joy” during the coronavirus outbreak, while at the same time joining US streaming giant Netflix in shutting down some of its productions.

The company said on Friday that Frozen 2 would be available on its digital streaming platform Disney+ from Sunday in the US, three months earlier than scheduled. The film, released in cinemas last year, is the sequel to its 2013 animated blockbuster.

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‘You ruined my premiere!’: Beckinsale recalls Weinstein’s obscenity-filled rant

Kate Beckinsale claims disgraced movie mogul was enraged when she wore white suit rather than ‘tight dress’ to New York premiere shortly after 9/11

Kate Beckinsale has described an obscenity-filled rant by Harvey Weinstein in which he allegedly called her “stupid fucking cunt” after he objected to her choice of outfit for a film premiere in 2001.

In a post on social media, Beckinsale outlined events after a screening for the romcom Serendipity, in which she starred opposite John Cusack. She said Weinstein insisted on holding the premiere only a few weeks after the 9/11 attacks, calling it “the most insensitive, tone deaf, disrespectful idea possible”. Beckinsale said Weinstein had arranged for her to visit his home with her two-year-old daughter, and then launched a tirade at her when they were alone.

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Oscars 2020: Brad Pitt wins best supporting actor – live!

Follow all the action from Hollywood as we find out who’s wearing what, who’s winning what and whose acceptance speech is dropping jaws


Oscars tonight: predictions, timetable and all you need to know

‘Brad Pitt tells us he’s single’: play Oscars bingo!

Now for best animated feature. Beanie Feldstein just introduced Mindy Kaling. Is that how this is going to work without a host? A person announces a person who announces a winner? That seems like at least one step too many.

We already have a news story about Brad Pitt winning. Not that anyone was expecting it or anything.

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How Izzy Demsky became Kirk Douglas: the ultimate Hollywood makeover

The scrawny son of Jewish immigrants transformed himself into an icon of US manhood – a narrative the nation is forgetting in the Trump era. Yet a darker side lurked too

Handsome, muscular, noble – not words that would automatically have been associated with a Yiddish-speaking schmutter-seller’s son whose family were not long off the boat from what is now Belarus. But we know better: in these nativist times, it is worth remembering that Izzy Demsky was the beneficiary of the ultimate Hollywood makeover: the scrawny, hustling scion of immigrants who evolved into Kirk Douglas, the acme of all-American manhood, and evolved once again into a sensitive, politically conscious standard-bearer for liberalism.

Douglas, who has died aged 103, became an unrecognisable figure from that of his childhood. His story follows a near-mythic immigrant arc that the US has chosen to ignore in the Trump era. In this he was aided by physiognomy: like Bernie Schwartz (AKA Tony Curtis), his smooth good looks opened doors closed to the likes of Manny Goldenberg (AKA Edward G Robinson). Douglas became an authentic star in 1949 with the brawling boxing picture Champion, only two years after Hollywood nervously tackled the subject of antisemitism in Gentleman’s Agreement and Crossfire, and fully two decades before ethnic minority-looking actors such as Dustin Hoffman were able to play romantic leads.

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Joaquin Phoenix’s attack on Baftas for ‘systemic racism’ applauded

Actor’s speech addressing issues of diversity and reputation meets with ‘uncomfortable silence’ – and much praise

Joaquin Phoenix’s powerful broadside against the body that awarded him the best actor prize on Sunday night has met with a chorus of praise across the film industry.

In his speech, Phoenix said he felt conflicted by his victory “because so many of my fellow actors who are deserving don’t have that same privilege”.

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Talking About Trees review – how the lights went out in Sudan’s cinemas

This poignant and witty documentary focuses on four directors whose careers were stalled by a military coup thirty years ago

This witty and engaging cinephile documentary begins surreally with its subjects, four older male Sudanese film-makers, recreating the famous “closeup” scene from Sunset Boulevard. None of these directors has worked properly in years, since a military coup in 1989 triggered the collapse of Sudan’s film industry for religious and economic reasons. Now a power cut prevents them from even watching a movie, so they make do. Ibrahim Shaddad wraps a blue chiffon scarf coquettishly around his face as Norma Desmond, simpering: “I’m ready for my closeup.”

Films are oxygen for these men, and Talking About Trees follows their mission to reopen a neglected outdoor movie theatre near Khartoum and give away tickets. There are almost no cinemas left in Sudan. As plans go, it looks as rickety as the 12ft ladders they climb to scrub the crumbling walls of the cinema. The four amigos – Shaddad, Suliman Ibrahim, Eltayeb Mahdi and Manar Al-Hilo – repaint the peeling sign, print posters and canvass the local community to decide what film to show first. (The people pick Django Unchained.) They accept setbacks philosophically, with stoicism and amusement. Shaddad finds it hilarious when the general from the morality police dealing with their request for a permit gives them the runaround, disappearing off to pray for two hours.

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‘It’s a war between technology and a donkey’ – how AI is shaking up Hollywood

The film business used to run on hunches. Now, data analytics is far more effective than humans at predicting hits and eliminating flops. Is this a brave new world – or the death knell of creativity?

If Sunspring is anything to go by, artificial intelligence in film-making has some way to go. This short film, made as an entry to Sci-Fi London’s 48-hour film-making competition in 2016, was written entirely by an AI. The director, Oscar Sharp, fed a few hundred sci-fi screenplays into a long short-term memory recurrent neural network (the type of software behind predictive text in a smartphone), then told it to write its own. The result was almost, but not quite, incoherent nonsense, riddled with cryptic nonsequiturs, bizarre turns of phrase and unfathomable stage directions such as “he is standing in the stars and sitting on the floor”. All of which Sharp and his actors filmed with sincere commitment.

“In a future with mass unemployment, young people are forced to sell blood,” says a man in a shiny gold jacket. “You should see the boy and shut up. I was the one who was going to be a hundred years old,” replies a woman fiddling with some electronics. The man vomits up an eyeball. A second man says: “Well, I have to go to the skull.” And so forth. An unwitting viewer might be unsure whether they were watching meaningless nonsense or a lost Tarkovsky script.

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Robert Pattinson: ‘I don’t really know how to act’

He’s about to appear in what might be his best film yet. So why is one of Britain’s finest actors so convinced he can’t act? Robert Pattinson talks to Alex Moshakis about stage-fright and why he couldn’t say no to a role in The Lighthouse

Do you want to hear a funny thing about Robert Pattinson? Robert Pattinson is convinced he doesn’t know how to act. Willem Dafoe can act, Pattinson thinks. Willem Dafoe can act the socks off anyone in the business. And Joaquin Phoenix. Joaquin Phoenix could tie his shoelaces on film and be nominated for an award. And Bruce Willis – Bruce Willis! – now there’s a leading man. But Robert Pattinson? Nope. “I only know how to play scenes, like, three ways,” he says. Three! That’s all. Despite more than a decade in the industry. “I’m nervous on, like, every single movie.”

Pattinson, who is 33, is sitting in a booth in a low-lit restaurant in Notting Hill, west London, dunking table bread into a pot of something. It’s the early evening, dark and cold outside. He has arrived from rehearsals for The Batman, which started not long ago and which are taking place, to his delight, in the studio in which he filmed Harry Potter in the mid-aughts. The Batman is the first time he’s worked in a studio in “like, forever,” and his first mainstream leading role since he retired his best-known character, Twilight’s Edward Cullen, sexy vampire. That was in 2012.

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Phoebe Waller-Bridge: I was not hired for Bond because of my gender

Fleabag creator says she was never told 007 script role was to help with female characters

Phoebe Waller-Bridge will be only the second woman ever credited on a Bond movie script but she has insisted gender was not the reason she was hired.

The Fleabag creator said it was “mad” and “exciting” to work on No Time to Die, in which Daniel Craig will play 007 for the final time. But there was never a conversation about her being there to help with the film’s female characters.

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Hobnails, drill and boot camp: secrets of Sam Mendes’s war epic 1917

Director tells how getting every detail right was crucial to helping his cast understand emotions of war

Wasted youth, random violent death and the folly of armed conflict are the big themes of 1917, Sam Mendes’s orchestral symphony of a first world war film. But for the director and the team who made it alongside him, no detail was too small to consider.

“It was very important, the question of historical accuracy,” said Mendes. “We had two very fine historical advisers, Andy Robertshaw and Peter Barton, who are world renowned. And one military adviser, Paul Biddiss, who was also brilliant.”

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Aladdin star Mena Massoud: ‘I haven’t had a single audition since film was released’

As the Disney movie earns $1bn at the global box office, the actor says ‘I feel like I’m going to be overlooked and underestimated for a long time’

Mena Massoud, the Egyptian-Canadian actor who played Aladdin in the recent Disney live-action remake, has said he hasn’t had a single audition since its release.

Massoud told the Daily Beast: “I’m kind of tired of staying quiet about it … I want people to know that it’s not always dandelions and roses when you’re doing something like Aladdin. ‘He must have made millions. He must be getting all these offers.’ It’s none of those things. I haven’t had a single audition since Aladdin came out.”

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Syrian war documentary For Sama triumphs at British independent film awards

The chronicle of an activist who filmed the destruction in Aleppo wins prizes for best film, documentary, director and editing

For Sama, the acclaimed documentary about life under siege in the Syrian city of Aleppo, has unexpectedly triumphed at the British independent film awards, winning the top prize, best British independent film, as well as best documentary and best director for Waad al-Kateab and Edward Watts.

Described by the Guardian’s Mike McCahill as a film to “break your heart and sear your soul”, For Sama is a chronicle filmed by Syrian activist-director al-Kateab as Aleppo is targeted during the country’s ongoing civil war. Al-Kateab spends much of the time in a hospital where her husband, Hamza, works, recording the destruction and horror. For Sama won a total of four Bifas, including best editing – previously announced with other Bifa “craft” awards on 15 November.

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Battle of the sexes: why this year’s Oscars will be a gender war

From Little Women and Bombshell on one side and The Irishman and The Two Popes on the other, the Academy will have to tread a careful line picking this year’s nominations

British politicians are not the only people preparing for the campaign trail; Hollywood’s awards-season schmooze offensive has also begun. Gala ball dates are being added to diaries, academy voters are being targeted and a clutch of frontrunners is emerging. Trends – most of them worrying – are also appearing.

In summary, this year it is “boy films” v “girl films”. A gaping gender divide seems to have split the field. On the girls’ side, we have two well-received titles: Bombshell, dramatising the sexual harassment scandal at Fox News, and Greta Gerwig’s adaptation of Little Women. Both are stories of female defiance at the male-dominated status quo, and are cast with an embarrassment of awards-bait: Little Women features Meryl Streep, Saoirse Ronan, Florence Pugh, Emma Watson and Laura Dern; Bombshell has Nicole Kidman, Charlize Theron, Margot Robbie and Allison Janney.

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The women who broke the Harvey Weinstein story – podcast

When Jodi Kantor and Megan Twohey began investigating Harvey Weinstein, they had no idea it would ignite a global reckoning on sexual harassment resulting in #MeToo. And: Rafael Behr on the likelihood of a winter election

In the summer of 2017, the New York Times journalist Megan Twohey was on maternity leave when she received a call from a colleague, Jodi Kantor. The two had never spoken before, but Kantor was working on a story and needed Twohey’s help. It was an investigation into the Hollywood producer Harvey Weinstein. What they uncovered became one of the biggest stories of our times, launching a global movement.

Rachel Humphreys talks to the journalists about how they convinced prominent actors and former Weinstein employees to speak to them, the lengths Weinstein was willing to go to in an attempt to prevent the story from becoming public, and what more needs to be done about sexual harassment in the workplace.

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Hollywood’s gender pay gap revealed: male stars earn $1m more per film than women

Disparity is almost the same in 2015 as in 1980, say researchers who call for contracts to be made public

In the Richard Curtis film Notting Hill, the bumbling stockbroker Bernie, played by Hugh Bonneville, meets Anna Scott, unaware that Julia Roberts’s character is the world’s most famous female actor.

Upon learning her profession, he patronisingly commiserates with Anna about the low wages paid to actors, declaring them “a scandal”, and asks how much she received for her last movie. Without missing a beat, Anna replies “$15m”, the actual amount Roberts was paid to do the movie, a rare example of when an actress has earned more than her male counterpart – in this case, Hugh Grant. For a real scandal in acting has always been the huge gender pay gap.

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De Niro’s company sues ex-employee for $6m for embezzlement and Netflix bingeing

Canal Productions alleges Chase Robinson accrued enormous hotel and Uber bills as well as watching TV during working hours

Chase Robinson, who until recently held a senior role in Robert De Niro’s film production company, has been sued by her employer for $6m.

According to Variety, who have seen papers filed in a state court on Saturday, Robinson – whose most recent position was vice-president of production and finance at Canal Productions – is accused of embezzling money and wasting time during office hours watching television shows.

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Men behaving badly: why cinema’s great hellraisers were a breed apart

Rip Torn belonged to a high-spirited tradition that was fuelled by too much booze and testosterone. Like it or not, we may never see their like again

The death of the film and TV star Rip Torn, whose drunken exuberance so often resulted in the breaking of glass, the splintering of wood and the bandaging of limbs, has led the industry to ponder that exotic creature whose rock’n’roll behaviour, from the 1960s onwards, persisted for decades to tolerant chortling from the similarly inclined or wistfully well-behaved gentlemen of the press. And that creature is the “hellraiser” – a term that originates from a defiant credo espoused by the hard-drinking, hard-living Hollywood legend Richard Burton: “God put me on this earth to raise sheer hell!”

Peter O’Toole’s death in 2013 led to a similar outpouring of grief for the booze legends who have evidently been replaced by corporate dullards, drinking mineral water, policing their own language and anxiously checking their mentions on Twitter. Once we had hellraisers: now we have “disrupters”, people who give Ted talks about their revolutionary new app for maximising your leisure time. Actors used to spend every penny getting fantastically drunk. Now George Clooney gets a reported $1bn for selling his Casamigos Tequila brand to the drinks retailer Diageo — although Clooney was reported to lose his cool after a few drinks.

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Romanian immigrant elected German mayor after anti-AfD alliance

Actors and directors called on Görlitz voters to not succumb to far-right party’s ‘hate and enmity’

A 51-year-old immigrant has been elected mayor of a town in eastern Germany after beating a candidate from the far-right Alternative for Germany (AfD) party in a campaign that drew international attention.

Octavian Ursu, a classical musician who came to Germany from Romania in 1990s, stood for Chancellor Angela Merkel’s centre-right Christian Democratic Union party, receiving 55.1% of the vote in Sunday’s election in Goerlitz. Preliminary returns showed his AfD opponent, Sebastian Wippel, an ex-policeman received 44.9%.

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