Tag: bryan-fuller

  • Movie Review: ‘Dust Bunny’

    Mads Mikkelsen in 'Dust Bunny'. Photo: Lionsgate and Roadside Attractions.
    Mads Mikkelsen in ‘Dust Bunny’. Photo: Lionsgate and Roadside Attractions.

    In theaters on December 12 is ‘Dust Bunny,’ written and directed by Bryan Fuller and starring Mads Mikkelsen, Sophie Sloan, Sigourney Weaver, David Dastmalchian, Rebecca Henderson, and Sheila Atim.

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    Related Article: ‘Star Trek: Discovery’: Bryan Fuller Out as Showrunner

    Initial Thoughts

    Sophie Sloan in 'Dust Bunny'. Courtesy of Roadside Attractions.
    Sophie Sloan in ‘Dust Bunny’. Courtesy of Roadside Attractions.

    In creating a fantastical world, one has to make it seem believable and real even if it only obeys the rules of its own internal logic. With his feature directorial debut, ‘Dust Bunny,’ Bryan Fuller imagines a surreal vision of what seems to be New York City, yet never makes it or the characters in his story feel three-dimensional.

    Famous for creating cult TV shows like ‘Pushing Daisies’ and ‘Hannibal,’ but more recently known for exiting series like ‘American Gods’ and ‘Star Trek: Discovery’ in their early stages or seasons, Fuller shows visual flair with his first film and also benefits from the presence of his ‘Hannibal’ star, Mads Mikkelsen. But ‘Dust Bunny’ never truly comes alive and is far too drawn-out for its own good.

    Story and Direction

    (L to R) Mads Mikkelsen and Sophie Sloan in 'Dust Bunny'. Courtesy of Roadside Attractions.
    (L to R) Mads Mikkelsen and Sophie Sloan in ‘Dust Bunny’. Courtesy of Roadside Attractions.

    In an old yet ornate apartment building in what is supposed to be New York’s Chinatown, 10-year-old Aurora is convinced that the dust bunnies under her bed have evolved into a carnivorous monster that has pursued her throughout her young life, eating her previous foster parents and now targeting her new ones. When said parents are seemingly consumed, she enlists the help of her Intriguing Neighbor (Mads Mikkelsen) – that’s how he’s listed in the credits – an assassin who is skilled at killing more human monsters but is reluctant at first to help Aurora.

    A movie not giving its characters actual names usually raises red flags for us, indicating a frustrating lack of development of those characters. The same could be said for both the story and setting of ‘Dust Bunny’: while it’s meant to be surreal, it’s all too vaguely defined to truly capture our imaginations. It’s as if Fuller, who also wrote the piece, never bothered to go back after his first draft and add more texture and life to his story. It never feels real enough for us to care about what happens to Aurora and the Intriguing Neighbor, although the actors themselves work to give the film some emotional heft.

    Sophie Sloan in 'Dust Bunny'. Courtesy of Roadside Attractions.
    Sophie Sloan in ‘Dust Bunny’. Courtesy of Roadside Attractions.

    But even the game cast can’t work around Fuller’s enervated direction and drawn-out pacing, which includes long stretches of looping dialogue that start out as jokes but ends up tiresome and far too repetitive. There are scenes of violence that are gore-free but still jarring within the fairy tale tone of the film, and while there are hints at a broader subtextual metaphor about abuse and neglect of children – and preserving their innocence in a vicious world – they’re also as vexingly hazy as much of the rest of the film.

    There are elements here that do have the making of an interesting dark fantasy film, and as noted earlier, Fuller does have an excellent eye for richly detailed compositions and a baroque use of color and shadow. But it often seems like his visuals are searching for a better story.

    Cast and Performances

    (L to R) Mads Mikkelsen, Sophie Sloan and Sigourney Weaver in 'Dust Bunny'. Courtesy of Roadside Attractions.
    (L to R) Mads Mikkelsen, Sophie Sloan and Sigourney Weaver in ‘Dust Bunny’. Courtesy of Roadside Attractions.

    Mads Mikkelsen makes everything he’s in better, and his reunion with Fuller for the first time since he starred as Hannibal Lecter on three seasons of ‘Hannibal’ is one of the best aspects of ‘Dust Bunny.’ Even though his character is so underwritten that he doesn’t even have a name, Mikkelsen does his best to bring the world-weary professional killer to life, and makes his growing fondness for Aurora feel credible.

    Little Sophie Sloan is adorable as Aurora, but her line delivery and range are still works in progress. Her finest moments come in some of the tender exchanges with Mikkelsen. Sigourney Weaver shows up as Laverne, who might be Mikkelsen’s boss, lover, or mentor (he confusingly calls her ‘mother’ at one point), and while Weaver always stands out as usual, the character is more of a cartoon character than anything else. Same goes for David Dastmalchian’s briefly seen and even more ridiculously named Conspicuously Inconspicuous Man.

    Final Thoughts

    Sophie Sloan in 'Dust Bunny'. Courtesy of Roadside Attractions.
    Sophie Sloan in ‘Dust Bunny’. Courtesy of Roadside Attractions.

    We wish there was more to ‘Dust Bunny’ underneath its gleaming, stylish surface, since there are the inklings of an interesting world here – where monsters both human and inhuman are possibly interchangeable – and because there is the budding of a sweet father-daughter relationship between Mikkelsen’s gruff hitman and Sloan’s irrepressible Aurora.

    But at 106 minutes, ‘Dust Bunny’ has too thin a story to take up so much time, and not enough charm in its setting or narrative to do anything but test one’s patience. We’re not sure who it’s for either: the violence is probably too much for younger viewers while the story may not hook adults. Bryan Fuller has often displayed a singular imagination, but ‘Dust Bunny’ is too insular and half-formed to truly showcase the man’s talents.

    ‘Dust Bunny’ receives a score of 50 out of 100.

    David Dastmalchian in 'Dust Bunny'. Courtesy of Roadside Attractions.
    David Dastmalchian in ‘Dust Bunny’. Courtesy of Roadside Attractions.

    What is the plot of ‘Dust Bunny’?

    When a monster under her bed seemingly eats her mother and father, a 10-year-old girl named Aurora (Sophie Sloan) living in New York City asks her mysterious hitman neighbor (Mads Mikkelsen) to help kill the beast.

    Who is in the cast of ‘Dust Bunny’?

    • Mads Mikkelsen as the Intriguing Neighbor
    • Sophie Sloan as Aurora
    • Sigourney Weaver as Laverne
    • Sheila Atim as Brenda
    • David Dastmalchian as Inconspicuously Conspicuous Man
    • Rebecca Henderson as Intimidating Woman
    • Line Kruse as Mother
    • Caspar Phillipson as Father
    Mads Mikkelsen in 'Dust Bunny'. Courtesy of Roadside Attractions.
    Mads Mikkelsen in ‘Dust Bunny’. Courtesy of Roadside Attractions.

    Series Written By Bryan Fuller:

    Buy Tickets: ‘Dust Bunny’ Movie Showtimes

    Buy Mads Mikkelsen Movies on Amazon

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  • Beyond Fest Announces Full 2025 Line Up

    2025 Beyond Fest poster.
    2025 Beyond Fest poster.

    Preview:

    • Beyond Fest is back in Los Angeles for its 2025 edition later this month.
    • ‘Bugonia’, ‘After the Hunt’ and more will receive premieres.
    • Filmmakers including Gore Verbinski and John Carpenter will discuss their work.

      Following news of its Guillermo del Toro celebration, the highest-attended genre film festival in the US, Beyond Fest is back for 2025 offering even more exciting screenings, including ‘Bugonia’, ‘Black Phone 2’ and ‘Good Fortune’ and talks with filmmakers.
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    If you enjoy hearing talented types talk up their work, attendees will be able to see the likes of Al Pacino, William Petersen and John Carpenter at special screenings of movies they appeared in or made.

    Related Article: ‘Wicked: For Good,’ and ‘Jurassic World: Rebirth’ Lead Universal’s CinemaCon Show

    What other movies will screen at this year’s Beyond Fest?

    Emma Stone stars as Michelle Fuller in director Yorgos Lanthimos' 'Bugonia', a Focus Features release. .Credit: Atsushi Nishijima/Focus Features © 2025 All Rights Reserved.
    Emma Stone stars as Michelle Fuller in director Yorgos Lanthimos’ ‘Bugonia’, a Focus Features release. .Credit: Atsushi Nishijima/Focus Features © 2025 All Rights Reserved.

    As is usual for Beyond Fest, there is a packed programme at the 2025 event. The opening night movie is Park Chan-Wook’s ‘No Other Choice’, while the likes of Bryan Fuller’s ‘Dust Bunny’ and Luca Guadagnino’s ‘After the Hunt’.

    And that’s not all! Stunt icon Kenji Tanigaki brings his instantly infamous epic-fight-fest, ‘The Furious’, to the Egyptian Theatre for its US Premiere, while Jalmari Helander’s ‘Sisu: Road to Revenge’ will raise the action to another level.

    Plus, there is the usual host of retrospective presentations, including Al Pacino discussing the legacy of ‘Dick Tracy’, an event celebrating the 10-year anniversary of Karyn Kusama’s ‘The Invitation’ and Gore Verbinski returns to the Egyptian Theatre for a very special screening of ‘The Ring’.

    Finally, the whole event wraps up with Yorgos Lanthimos’ latest chunk of weirdness, ‘Bugonia’.

    That’s just a small sampling of what’s on offer. Visit beyondfest.com and americancinematheque.com for more details.

    When and where is Beyond Fest 2025 happening?

    (from left) Finn (Mason Thames) and The Grabber (Ethan Hawke) in 'Black Phone 2', directed by Scott Derrickson. © 2025 Universal Studios. All Rights Reserved.
    (from left) Finn (Mason Thames) and The Grabber (Ethan Hawke) in ‘Black Phone 2’, directed by Scott Derrickson. © 2025 Universal Studios. All Rights Reserved.

    This year’s event runs between September 23rd –– October 8th.

    In partnership with the American Cinematheque and presented exclusively by distributor NEON, Beyond Fest will screen at the Egyptian Theatre, Aero Theatre and Los Feliz 3. Theatre.

    How can I get tickets for the 2025 Beyond Fest?

    Tickets will be on sale via americancinematheque.com on Thursday, September 11th at 10 am PST.

    A still from Bryan Fuller's 'Dust Bunny'. Photo: Lionsgate & Roadside Attractions.
    A still from Bryan Fuller’s ‘Dust Bunny’. Photo: Lionsgate & Roadside Attractions.

    Selected List of Movies Playing at Beyond Fest:

    Buy John Carpenter Movies and TV on Amazon

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  • Anne Rice’s ‘Vampire Chronicles’ TV Series Heads to Hulu

    Warner Bros.

    Novelist Anne Rice has been trying for years to turn her iconic “Vampire Chronicles” book series into a television show. Now, the project seems to have found new life — and an official home.

    Hulu has snapped up the rights to the “Vampire Chronicles” TV series, outbidding “multiple outlets pursuing the drama,” according to The Hollywood Reporter. While different networks and platforms had been vying for the chance to air the sure-to-be buzzy series, however, its behind the scenes situation is another story.

    Bryan Fuller — the showrunner behind splashy TV projects including “Hannibal,” “Pushing Daisies,” “American Gods,” and “Star Trek: Discovery” — was initially attached to executive produce “Vampire Chronicles,” but pulled out of the project back in January. THR reports that Fuller made that decision in order not to “step on the toes of longtime friends Anne Rice and her son, Christopher Rice, who penned the original script.”

    We’re guessing that that’s Hollywood code for the tried and true “creative differences” excuse, though we’re also curious why there was a clash at all between Fuller and the Rices, whose sensibilities seem fairly in sync. Whatever the real reason for the producer’s departure, the show securing a platform in Hulu should go a long way in helping it finally make it through the development process and onto viewers’ screens.

    The “Vampire Chronicles” series is set to be based on 11 books in Rice’s collection, which began with 1976’s “Interview With the Vampire.” That book was adapted into a film of the same name in 1994, which starred Brad Pitt, Tom Cruise, Kirsten Dunst, and Antonio Banderas. In 2002, another “Chronicles” novel, “Queen of the Damned,” hit the big screen, featuring the late Aaliyah.

    No word yet on who is being eyed to star in this new take. Stay tuned.

    [via: The Hollywood Reporter]

  • Taking a Real-Life Head-Butt on ‘American Gods’ Didn’t Rattle Pablo Schreiber

    SAG-AFTRA Foundation's Conversations With 'American Gods'Mad Sweeney, the supersized leprechaun of “American Gods,” has an uncanny knack for inducing as many punches and blows to his person as he is able to conjure gold coins out of thin air. And actor Pablo Schreiber admits he was clocked with an accidental head-butt himself on the job, but didn’t mind taking one for the team.

    Schreiber — who’s stolen scenes all season as the brooding mythic being from Irish folklore who’s embarked road-tripping with Laura, Shadow Moon’s bride who’s returned from the dead for the better for the most part (minus the slowly rotting flesh) – revealed the cause of his emergency room trip while shooting Starz’s critically hailed new series in a chat with Moviefone, as well as his reasons for signing on the series, which he sees as a standard bearer for the current era of what he calls “WTF TV.”

    Moviefone: Pop culturally, we have this “Lucky Charms” idea of leprechauns, and Neil Gaiman obviously went the other way. How deep down the rabbit hole of myth and leprechaun lore did you go to wrap your head around where Neil was coming from in the creation of this character?

    Pablo Schreiber: Not too far, but far enough. The setup for the character comes from an old Irish folk tale about a king who goes mad and just wants to go to battle, brings his people to battle, and the night before he’s about to take his people to battle, he has a vision of his own death, so he flees the battle the next day. So I looked at the lore that this character was based on, the character of Mad Sweeney — not the character from the novel; that character Mad Sweeney is actually the name of an Irish folk tale, so I read that.

    Then the leprechaun stuff was actually not that usable to me in the sense of, I did a little bit of research about what the original leprechaun supposedly came from. The legend is that they evolved from a band of tree people in Ireland that were actually quite tall. That’s where Neil’s pulling this stuff from about the bastardization of leprechaun lore. But then it was just the reactivity of a guy who feels entirely misunderstood, and that people have false misconceptions of. You can play that from any standpoint.

    Since I’m six-foot-five, the idea of people thinking of me as this tiny little creature that you only see on cereal boxes, that’s easily served into an infuriating concept.

    You take a lot of punishment in this series. Mad Sweeney’s constantly getting punched in the face or other body parts. How has making that work on screen been for you? Have you had any mishaps in all the blows he’s taken through the course of the series?

    Yeah, the big one was the original fight sequence with Shadow that you see in the Crocodile Bar. We ended up having to shoot twice because of various concerns, mostly around they didn’t like the set that we shot it on the first time. So we ended up shooting it again at the very end of our shoot after we had been shooting for about five or six months.

    On the second go-around, I actually had a head-butt with Ricky [Whittle] that turned into a real head-butt and split my head open, and I was bleeding all over the floor. I had to go to the hospital, get it glued up, and then came back and finished the fight because there was no way that we were going to shoot that one on a third day. By that time, we had already done a whole bunch of reshoots and everybody was sick of doing things over again, so it was paramount that we finished that up. That was the worst I took of it in real life.

    Other than that, I think it’s just a really rich setup for a character. That’s how it was originally sold to me, and why I kind of latched on to it as an idea. It’s such a great premise: the leprechaun who’s lost his luck. So to get to watch this guy who normally has all the gold in the world at his disposal and anything he wants and everything goes his way, and has sort of been touched by the angels for most of his life, all of a sudden lose all of that and be dealing with what it feels like to live on the other side, just felt like a really fun area to play in.

    It plays great on screen, so hopefully the pain was worth it all.

    Yeah, for sure. A little head split open was the worst I got. Other than that, I’m okay.

    My favorite scenes with you are usually with Emily Browning as Laura. Tell me about that specific rapport between the characters have and finding that with her.

    Again, so much of it, to me, just really exists in the setup. It’s such a rich dynamic. It was pitched to me when I was offered a job as, a portion of this road trip show would be “Bonnie and Clyde with a zombie and a leprechaun.” To me, as soon as I heard that, I was like, “Okay, I get it. I know what you’re going for.”

    It’s just so much fun to play. You see two characters that are such extreme a**holes, and so acerbic and nasty, and kind of sick and tired of the outside world. Then they just go at each other.

    Underneath it, I think part of why it feels so rich is you can feel underneath for both of them. Even though they are these really kind of awful people, underneath, there’s a deep core of humanity to both of them, and that they’re both dealing with a lot of guilt from their past actions. They’re both hiding a lot of guilt and shame for what they’ve done.

    Even though the book was written so many years ago and you guys started shooting a while back, the timing of the show couldn’t have been more serendipitous, as far as feeling as relevant as can be. Tell me about that, seeing this work that you had kind of already been doing, suddenly take on a deeper meaning in our cultural moment right now.

    The idea of searching for what America means, and trying to make sense of this crazy experiment we’re in the middle of, is relevant and topical at any time. But obviously, we got a real bump from the most recent election, and immigration in particular becoming a catchphrase all of a sudden, and a point of conversation and debate.

    That really, obviously, played into our hands in terms of our relevance because this is essentially, at its bottom, a story of how this country was built, and the different voices that collaborated to making this country what it is. When you have so much fierce debate about how this country should go forward with its immigration policy, a clear-eyed look at how it was built and the different voices that it took to build it makes us all the more relevant.

    You’ve certainly done your share of all kinds of television series. Over the last few years, you’ve been sort of in the thick of this sort of new Golden Age of Television that we’re experiencing. Obviously, “Orange Is the New Black” was a vanguard in that, as far as high-quality TV in the streaming format. And now this show is another quantum leap forward in storytelling. What’s it been like for you to be right at the center of this great transformation of our television content?

    I pinch myself when I think of what I’ve been able to do in my career and the people I’ve been able to work with. Yeah, I’ve been a part of the television movement since the beginning of my career. I think the since my movement into acting coming out of college. I was incredibly fortunate and lucky enough that in my early days of my career I did a show called “The Wire,” which essentially built, along with “The Sopranos,” the whole idea and lore of HBO, which now kind of leads the way in that front.

    Then to get to be a part of “Orange Is the New Black,” and what Netflix was doing over there, and now to do this with Starz, this is interesting because I was just talking with someone about this the other day. They said, “What does it feel like to be a part of the age of What the F*ck Television?” I thought about it for a second. I was like, “Well, I don’t really know what it feels like to be part of that, but that’s interesting.”

    I think there’s something to the idea that it’s so hard to grab an audience, it’s so hard to be that buzz-worthy show, because there’s so many places where people are finding content these days, and there’s so much competition, and there’s so many amazing writers writing for TV, that it’s a very competitive landscape.

    So this idea of the age of What the F*ck Television is almost like a natural progression of the fact that we’ve got so much good TV, and in order to really carve out your place in the landscape, you’ve got to be the most out-there and ridiculous. But there’s a number of shows I think right now airing that kind of fit into that paradigm. It’s definitely an interesting progression to that.

    But then to more directly answer your question, I just feel so fortunate to have gotten to work with David Simon, with Jenji Kohan, and now with Bryan Fuller and Michael Green. These people lead incredibly, incredibly important stories, and to get to be a part of bringing their vision to the screen, to get to work with those people, like I said, I pinch myself every day that I’ve been as fortunate as I am.

    I’ve been reading Neil’s work since I discovered him in his comic book years. There’s definitely a magical sort of quality that he has in his art. It, in ways that are alternately fun and clever and profound, tweaks the way you think. I’m curious how Neil’s material, and then what Bryan and Michael have done with it, how has that kind of affected your mindset. It’s heady stuff when you put your mind to thinking about it.

    Oh, usually, yeah! Just to start with, the basic ideas that Neil is tackling in this, to me, immediately made me want to do it. Regardless of how the project came out or how successful it was going to be, or what it ended up looking like, just tackling the ideas that he’s tackling about where we decide to put our energy, the things that we give our time and energy to become real. So where are you putting your time and your energy? That kind of check-in with yourself, to me, was automatically a loan worth joining up.

    But I think Neil and Bryan and Michael are like the perfect marriage. Neil’s work is so sprawling and already, just reading the book, so visual, and so compelling in a visual storytelling. You can already kind of see it when you read the book. To add specifically Bryan to that mix, who has proven himself to be one of our greatest visual storytellers working right now, you already knew that it was going to be insane, on the one hand, and really visually compelling and beautiful.

    So while there was an aspect of reading the pilot script and being like, “What the f*ck is this? How is this going to be a TV show?” You also knew at the same time, because of the marriage of the personalities and their specific work, that something really interesting was going to come out of it.

  • From Mythic to Red-Hot: How ‘American Gods’ Became the Show of the Moment

    AMERICAN GODSThe new Starz’s new series “American Gods,” adapted from the bestselling novel by fantasy author Hannibal”).

    “I think our first indication of that was when we were watching dailies from a scene that featured Orlando Jones, and his introduction as the African trickster god, Mr. Nancy,” says Fuller. “It’s relative in a Black Lives Matter sort of way — he was in a slave hold with 30-40 slaves played by black actors. And after his first take, they all gave him a standing ovation. That was the first time we thought, ‘Oh, this is more than just the fun show that we wanted to see.’ There are themes in the book that really speak to people deeply.”

    “It was mind-blowing,” says actress Yetide Badaki, who plays a Bilquis, a contemporary incarnation of the Biblical Queen of Sheba who lives in the modern world as a carnivorously worship-seeking prostitute, of the increasing prescience of the subject matter.Yetide Badaki in AMERICAN GODS“I woke up thinking, Who had the crystal ball all this time?” laughs Bedaki. “I guess Neil sees into the future. I’m absolutely stunned at how something that was written in 2001 and was filmed last year has become so incredibly topical. Every episode now I’m seeing through a new lens. It’s possible that as artists we were tapping into the psyche, and feeling something that was on the horizon, because I think viewers are going to be absolutely fascinated by how relevant all of this is at this time.”

    “I would be very happy if it wasn’t this relevant,” admits Gaiman. “I’d be perfectly happy if it were not quite as timely. The headlines that say things like, ‘Is “American Gods” the most political show of 2017?’ ‘Is “American Gods” the most important show of 2017?’ They are wonderful. I would trade them for a slightly stabler world right now, and feeling like I understood what was going on.”

    Gaiman admits that the very notion for the novel was unique in the way that it first struck him, lingering in a way that typically unformed creative sparks don’t. “It’s weird, because most books you don’t [remember when the idea first came to you],” says Gaiman. “They slowly congeal, and then suddenly you look down and this is a book.

    “In this case, I was really tired, I was in Reykjavik, in Iceland,” the author recalls. “I had not slept for about two days, due to it being the eternal summer. I looked down at a tabletop diorama of the voyages of Leif Erikson going from Iceland, to Greenland, to Newfoundland, which they call Vinland. I looked at it and I thought, I wonder if they took their gods with them?

    “Then there was a beat, and then I thought, I wonder if they took their gods away when they went home. And suddenly I had a book. It was just like, ‘This is a book.’ A couple of days later, as soon as I had some down time, I wrote an essay and sent it to my agent and to my editor, and said, ‘This is the idea, this is the story. By the way, I’m calling it “American Gods” right now. That’s the working title, but I’m sure I will come up with something better.’ And I never did.”Orlando Jones as Mr. Nancy in AMERICAN GODSFor many of the actors in the series, the mythic nature of the material and the iconic gods that populate it provided an initial allure. Jones says that his role, Mr. Nancy, derived from the African deity Anansi, “has been a character my great grandparents and grandparents have been reading to me since before I knew what Neil Gaiman was. In that sense, I guess it’s always been a part of my life.”

    “As it relates to mythology in general,” adds Jones, “the prototypes are the prototypes, the gods are the gods. They shift from region to region, but by and large, they kind of remain the same. I think what’s interesting about this exploration is the themes and metaphors that you find are at play with a book written before there was an iPhone that finds itself so relevant technologically. And also just in terms of how humankind seems to be moving. Those things make this incredibly special.”Ian McShane, Ricky Whittle, Corbin Bernsen in AMERICAN GODSOthers, like Corbin Bernsen, who plays Vulcan, the Roman god of fire and, adapting contemporaneously, guns — a character created especially for the series — were attracted by what “American Gods” had to say about instantly relatable topics like generational change.

    “The idea of what’s going on, the old gods coming out and dealing with the new gods, that I very much am invested in on a daily basis,” says Bernsen. “Trying to, like all people, figure out where the hell we are in our lives. I think this is really timely, if it can be reduced to somewhat metaphoric of where we are right now … Going down the rabbit hole of the mythology is one thing, but going down the rabbit hole of humanity? I’m somewhere around mid-Earth right now.”

    “We shot our scenes primarily in a working penitentiary in Oklahoma, in the middle of that state,” says Jonathan Tucker, who plays Low-Key Lyesmith, an incarnation of Loki, the Norse god of mischief. “It added an extraordinary amount of authenticity to our work there. And also, it felt very right that a show about America, about the themes of Middle America, of what we brought to this country as immigrants, what we worshipped when we came here, what we’ve left behind, all the new things that have been brought to the shores of this country by the immigrants that make up this beautiful nation.”

    “It felt very right that we were in Oklahoma,” Tucker adds, “that we were in this area that is not Hollywood, that’s not a backlot, it’s not a studio, we’re not in Toronto — this was real, man. That was just something you can’t quantify.”Bruce Langley as Technical Boy and Gillian Anderson as Media in AMERICAN GODSUltimately for Gaiman, with all the increasing urgency and zeitgeist appeal that the show has accumulated, it was the simple pleasure of seeing characters he conceived and lines of dialogue he wrote come to life on the soundstage that resonated the most. “In Episode 2, watching Gillian Anderson playing Media, the new god of all of you [journalists and bloggers], having taken on the form of ‘The Lucy Show,’ and talking on a big screen to Shadow Moon, was just absolutely unbelievable for me,” he says.

    “It’s not just as good as I imagined,” he adds. “It’s better than I imagined. You treasure those moments as an author.”

    “American Gods” premieres Sunday, April 30th on Starz.

  • ‘American Gods’ May Be 2017’s Most Eagerly Anticipated Show

    Mr Wednesday (Ian McShane) and Shadow Moon (Ricky Whittle) in Starz's "American Gods"“American Gods” is shaping up to be one of the most eagerly awaited television events of 2017 — even for the actors appearing in it.

    With an enormously alluring pedigree that includes renowned fantasy author Game of Thrones” and “Westworld” — even before the series’ official premiere date has been announced.

    Among a prestigious cast that includes Ricky Whittle, Ian McShane, Emily Browning, Crispin Glover, Gillian Anderson, Cloris Leachman, and Kristin Chenoweth, members of the series’ acting ensemble on the series — which depicts an epic showdown between the gods of old and new, with modern deities in forms like Media and Technology — are also abuzz with anticipation.

    Actor Kingdom” co-star who previously collaborated with Fuller on “Hannibal” and an unsold TV pilot, reteams with the writer/producer to play Low-Key Lyesmith, who for viewers who haven’t read the novel comes with many a surprise up his sleeve.

    “I loved this idea,” Tucker told Moviefone of his enthusiasm for the material and the relevancy of its of-the-moment themes. “We’re always battling tradition and the old guard with progress and with the new temptations. That’s certainly the case at this point. There’s also this idea that Greed and Technology and these new gods — the gods of today in Neil Gaiman’s book — we’re still wrestling with those issues, even though it’s been 20 years since the book.Technical Boy (Bruce Langley) in Starz's "American Gods"“There’s a lot of people who feel very left behind, on both sides of the political spectrum,” he continued. “You always know that the source material is on point when the themes can carry forward 20 some odd years after it was originated.”

    “I’m geeking out!” admitted actress Criminal Minds” and “NCIS,” and who considers herself a major fan of Gaiman’s works. Badaki plays another elder deity, Bilquis, the Goddess of Love, caught up in the brewing war between the old and new gods.Bilquis (Yetide Badaki) in Starz's "American Gods"“I’d already read the book when it originally came out, and the first thing that hit me was that it is an immigration story,” Badaki explained. “I’m originally from Nigeria, and only recently became a citizen. And there’s so much with all the stories of these old gods being brought into present day. You see all these different immigration stories, so that was the one thing that resonated immediately for me.”

    “There’s a lot of power in it,” said Badaki. “And it’s interesting because a lot of women have been reaching out, even before our show has opened, and they’re all really empowered by it, and they’re really excited to see where Bilquis is taken.”

    The actress says that one of the behind-the-scenes thrills of her role has been watching Fuller bring all of his creative powers to bear on Gaiman’s story. “We already know Bryan’s an amazing, incredible, just joyful human being, and he is a master storyteller,” she said. “He loves what he does, and he loves asking the difficult questions. He doesn’t shy away from that.”

    “It’s really inspirational to see somebody that has been in this business for so long hold that same passion, hold themselves that accountable to the role that storytelling plays, and to do it with such joy,” she added. “It’s just incredible to watch.”

    “Bryan Fuller has been a long-time collaborator of mine, and I would say I’m one of his biggest fans,” agreed Tucker. “We have a very close relationship. I would serve coffee on a Bryan Fuller set! So when he called up to have a conversation about this character, I leapt.”Shadow Moon (Ricky Whittle) and Laura Moon (Emily Browning) in Starz's "American Gods"

  • ‘Star Trek: Discovery’: Bryan Fuller Out as Showrunner

    2016 Summer TCA Tour - Day 6“Star Trek: Discovery” has to live up to high expectations, so a recent development may raise some eyebrows.

    Not long after the series’ January 2017 premiere date was pushed back several months, the revival is now down one showrunner. Bryan Fuller, one of the show’s co-creators, has stepped away from those day-to-day responsibilities, according to Variety. Apparently, he hasn’t had enough time to devote to the series, and CBS didn’t want another delay.

    Fuller certainly does have a lot in the pipeline. On top of the “Star Trek” revival, he has been writing and executive producing two more upcoming series: Starz’s “American Gods” and NBC’s reboot of “Amazing Stories.” Something had to give, and unfortunately for Trekkies, that something was “Discovery.”

    It is not all bad news, though: Fuller will remain actively involved as an executive producer. Meanwhile, fellow EPs Gretchen Berg and Aaron Harberts will take over his now vacated showrunner role, and Akiva Goldsman is reportedly likely to provide producing support. No further delays have been announced, so it appears production will begin as planned in November.

    The change-up isn’t ideal, but the show will go on.

    [via: Variety]

  • ‘Star Trek’ Stars From Across Its 50-Year History Share What Their Voyage Means to Them

    To celebrate the 50th anniversary of “Star Trek,” which first aired on Sept. 8, 1966, and has continued to boldly go forward as one of the most enduring, influential and visionary television creations of all time, Moviefone is offering a week-long look at five decades of the futuristic franchise.

    No television series has enjoyed such a unique and unlikely path to becoming a cultural phenomenon as “Star Trek.” Creator Gene Roddenberry‘s pioneering vision for an adult, ambitious and allegorical science fiction series featuring explorers aboard the starship Enterprise experienced rocky beginnings as a failed pilot deemed “too intellectual” by NBC.

    But the network gave the premise a second chance and, with the addition of more action and an appealing triumvirate of new leads Captain Kirk, Mr. Spock and Dr. McCoy, fueled by William Shatner, Leonard Nimoy, and Deforest Kelley‘s delightful chemistry, the forward-thinking series got a second chance at life, airing for the first time 50 years ago today, on Sept. 8, 1966.

    What followed has become legendary in the creation of what would become a full-fledged franchise, including the highly-rated syndicated series “Star Trek: The Next Generation” and its subsequent shared-universe series; the box office-dominating films that rebooted the “Star Trek” originals with new actors; tie-in novels and comic books; and a massive merchandising empire.

    But, at its core, “Star Trek” has always been a story about humanity, both on screen and behind the scenes. And to that effect, Moviefone has spent the last several months of the sci-fi phenom’s golden anniversary in the company of many of the key creative people at the heart of its various incarnations, gathering their takes on what it’s meant to them to occupy a place within the singular sensation called “Star Trek.”2016 Summer TCA Tour - NBCUniversal Press Tour Day 1 - ArrivalsWilliam Shatner (actor, Capt. James T. Kirk, “Star Trek: The Original Series,” “Star Trek” theatrical films I-VI, “Star Trek: Generations”): We’ve invented, through science fiction, a mythology, and “Star Trek” is a huge part of that. So many great science fiction writers had ideas for “Star Trek,” even if they didn’t write exactly for “Star Trek,” so it was 50 years as a mere television show, and through various iterations expanded to affect a great deal of our culture, far beyond anything we know.

    I mean, I wrote a book called “I’m Working on That” based on Stephen Hawking’s statement, when he walked into the set of “Star Trek” and saw these cheesy boards painted to look like … what’s the stuff we use for energy? … dilithium crystals. That’s how we were able to go so fast to cover the vast distances of space. Stephen Hawking said “I’m working on that.” It goes out in waves, and it seems somewhat innocuous, because it’s a television show, but in this case, this phenomenon has lasted 50 years.Premiere Of 20th Century Fox's "Independence Day: Resurgence" - Red CarpetBrent Spiner (actor, Lt. Commander Data, “Star Trek: The Next Generation”): “Star Trek” is the most amazing phenomenon. I think it’s the great American narrative. Because anything that has gone for 50 years you have to take seriously. There were a lot of people who think “Star Trek” is practically a religion. There are other people who think it’s absolutely silly. It’s somehow all of those things combined, and that’s what makes it wonderful.

    Even if you think it’s completely ridiculous, you have to kind of say, “What is this that’s gone for 50 years? I’ve got to at least check it out.” There’s something going on here, and it’s affected a lot of people. We’ve all had people come to us and say, “It’s because of your show, it’s because of you, that I am now a doctor or a scientist or …” So there’s something more going on there than meets the eye. There’s a wonderful action-adventure show, but there’s also something deeper and more profound.

    Dorothy “D. C.” Fontana (writer and story editor, “Star Trek: The Original Series,” “Star Trek: The Animated Series,” “Star Trek: The Next Generation”): We told good stories, I think. I’ve said this over and over: we were telling stories about things that were going on in our world, under the guise of science fiction. We were telling stories about racism, and sexism, and political things that were going on in our country, and in the world. We were doing stories about, well, just about anything — the Vietnam War, that was a big one. Nobody else could mention the Vietnam War, or even that we were in it, but we could, under the guise of science fiction.

    We reached out to people. We tapped them on the head and say, “Hey, are you paying attention?” But we were doing it in the guise of interesting science fiction stories. We had some great science fiction writers on the show, especially in the first year, who brought that wonderful element of exploring topical themes under the guise of science fiction.Star Trek Beyond Asia Tour - Beijing Press ConferenceChris Pine (actor, Captain James T. Kirk, “Star Trek,” “Star Trek Into Darkness,” “Star Trek Beyond“): It’s fun playing a leader when sometimes you don’t always necessarily feel like a leader yourself. So you learn what that’s like because on set naturally then you’re saying stuff that sounds leader-ish. So then you sometimes assume the part. There’s some learning lessons there. I suppose my reluctance in that regard kind of maybe reflects in the character himself, because I think we all have times where we either want to be front seat or backseat drivers.

    I appreciate in this latest installment playing a character that was a bit more existentially indecisive and lost and seeking some sort of new guidance, or new propulsion, or new energy behind what he was going to do, because sometimes things change when you’re a little bit older.Star Trek: Mission New York - Day 3Star Trek: Deep Space Nine”): Initially, when I watched the show in the ’60s, it meant what everybody talks about as that inclusion of different characters, different races, and hope for the future — all the kind of stuff that we know about. And then, when I was in college, it was about great fun and getting your mind off of your school work and everything just for an hour, just to not really concentrate on other things, having a good time.

    Then later on when I got the show, it was about, “Wow, great! It’s a great character. I’m going to do a really great job. I’m really happy about this. I’m a working actor again.” And then it became the people I worked with. That was the most exciting part.

    David Gerrold (writer, “The Trouble with The Tribbles,” associate producer, “Star Trek; The Next Generation”): Gene Roddenberry gave us “Star Trek” [and] he was passionate about “Star Trek.” And if it hadn’t been for him, we’d have never had the show. So we have this incredibly iconic thing that is going to change our culture for generations to come, because it’s about the possibilities of the future, it’s about a future where we’re all thriving and doing well and all have opportunities and we’re all included.

    it’s a very positive view of the future, and I give Gene enormous credit for that, because I don’t think anybody else has been able to create that kind of a vision of a future that works for all of us, with no one and nothing left out.Amazon Red Carpet Premiere Screening For Season Two Of Original Drama Series, "Bosch"Star Trek: Voyager”): It’s an optimistic, hopeful view of what we could possibly achieve in the future as humanity. If we can get it together. That’s what Gene was so brilliant at with the original series, in the very beginning, was showing in the height of the Cold War, a Russian officer on the bridge. Not that long after World War II, a Japanese officer on the bridge. Blacks, whites, women, everybody. And everyone was together and everyone worked together.

    I think it’s so important for us to see that now as a society. Not just in America, although really specifically here, but the whole world. We need to not be afraid of everyone who’s different. We’ve got to embrace our differences and realize that we’re stronger together, and we’re all inherently the same when it gets down to it."Star Trek Beyond" UK PremiereJohn Cho (actor, Hikaru Sulu, “Star Trek,” “Star Trek Into Darkness,” “Star Trek Beyond”): In the “Star Trek” setup, you’re going into space and seeing so many different kinds of species, it does become comically apparent when you look around the planet Earth that we live on that we do have so much more in common than we don’t. You know? So the little things that seem to divide us here in our present time seem even more exaggeratedly small after seeing an episode of “Star Trek.”Simon Pegg (actor, Montgomery “Scotty” Scott, “Star Trek,” “Star Trek Into Darkness,” writer, “Star Trek Beyond”): The first thing I saw was the animated series, funny enough, which ran I think from like ’72 to ’74, I think, which had the original cast. And as a very young child, I was like three or four, it caught my eye. Then I found out there was actually a live action version that pre-dated it, and I started watching that. I found that scary at first. I found that “The Corbomite Maneuver” and the terrifying Balok was the figurehead of my childhood nightmares.

    But it was still like something I had to watch. And that grew into a love of its kind of intelligence. As I got older, I started to understand just how much weight it carried, allegorically. It’s meant different things to me over the years. And obviously, now, it kind of means the world to me.Premiere Of Paramount Pictures' "Star Trek Beyond" - ArrivalsKarl Urban (actor, Dr. Leonard “Bones” McCoy, “Star Trek,” “Star Trek Into Darkness,” “Star Trek Beyond”): I remember watching “Star Trek” when I was a kid with my dad, and then I watched “Star Trek” with my kids. There’s something about “Star Trek” that just has this enduring appeal. It’s a hopeful, positive, optimistic vision of the future, and it was a fun show.The Cartier Fifth Avenue Grand Reopening EventZachary Quinto (actor, Mr. Spock, “Star Trek,” “Star Trek Into Darkness,” “Star Trek Beyond”): I think Leonard Nimoy would be really proud of what we accomplished … I take it seriously, and I feel like this is one of the most beloved characters in popular culture. He made it so. I see my responsibility as carry on his legacy and honoring the work that he put into this character, and the love that he lived with it for so long.5th Annual Critics' Choice Television Awards - Red CarpetScott Bakula (actor, Capt. Jonathan Archer, “Star Trek: Enterprise”): I fell in love with it, really, in re-runs when I was in college, because it was on every night, followed by Tom Snyder. So everything stopped, and we would watch “Star Trek.” I lived in a fraternity house: “Star Trek,” Tom Snyder every night. And I loved the camaraderie of the show. They had the brotherly kind of love that I just thought was great. I hadn’t really seen it on television at that point.

    I loved the humor of it, but, mostly, at the end of the day, I just loved that relationship on that bridge. That’s why I wanted to do it and try and build something similar — you can’t repeat it, but similar on our show.

    Star Trek: Discovery”): I fell in love with “Star Trek” before even seeing “Star Trek.” And when I was a small child, too young to go to church, my brother had built a model of the Klingon cruiser and put a battery in it and turned off all the lights in the house and was flying it though.

    And I saw this ship, the silhouette of this ship, and my mind was lit on fire because I wanted to know who that ship belonged to, what they were like, where did they come from? And I started asking those questions and then I got to see “Star Trek” and I got to see an even bigger world than I imagined.

    Justin Lin (director, “Star Trek Beyond”): My family immigrated to the States when I was eight. They had a little fish and chips shop, and they would close at 9 and we’d have dinner at 10. At 11, “Star Trek” came on Channel 13, so my brothers and I would talk our way into just hanging out with them. So, from 8 to 18, that was our level of engagement and our family time.

    I remember moving to a new country felt like it was just the five of us. But watching “Star Trek,” it instilled in me that family is not just by blood. It’s through shared experience. That’s what “Star Trek” gave me. Our engagement was through re-runs, but every night, it was a new adventure with new obstacles and new challenges. That sense of discovery and exploration was a big part of growing up. My friends all had the little “Star Wars” figures, but we didn’t have any of that: we had “Star Trek.”Premiere Of Paramount Pictures' "Star Trek Beyond" - ArrivalsJ.J Abrams (director, “Star Trek,” “Star Trek Into Darkness,” producer “Star Trek Beyond”): I’m a late adopter, to be totally honest. I was not a “Star Trek” fan as a kid, and I realized what I missed out on, because I got to fall in love with it watching the shows when I started working on the films.

    Michael Giacchino (music score, “Star Trek” (2009), “Star Trek Into Darkness,” “Star Trek Beyond”): I grew up in the early ’70s, so that’s how I watched it — I didn’t see it when it first aired. But I remember the first time I saw it thinking, “What is this? What on Earth is this show?” And I just kept watching it and watching it. And then I was asking about, “Can I have the action figures? Can I have the play set? The Enterprise play set?” Which I still have all that stuff. I still have it!

    It was sort of my first science fiction love. That show introduced me to science fiction, and then all of a sudden I was in love with “2001,” and I just kept going from there. But it was my gateway drug into sci-fi. [The original series music is] so iconic, because we’ve all watched those things so many times. And Alexander Courage’s theme is the greatest.

    Karl Urban: If it wasn’t for the fans, we wouldn’t be here. This show would have been cancelled in the second season.

    Simon Pegg: You’ve got to remember that it’s because it comes out of love and it comes out of a great sort of affection for something, which you can’t help but feel positive about. I get it. We all have our own feelings about “Star Trek.” It means something to all of us in different ways. What we tried to do with “Star Trek Beyond” was kind of try and embrace everybody that has come before, and everyone that hasn’t come yet.

    It’s almost like you can cross an episode of the original show with what you get from a modern blockbuster: “This is the hybrid — it’s year one and year 50 together.” That was our dream.Entertainment Weekly Hosts Its Annual Comic-Con Party At FLOAT At The Hard Rock Hotel In San Diego In Celebration Of Comic-Con 2Adam Savage (“Mythbusters” host, “Star Trek” fan): I grew up with the original series airing on television in the early ’70s. I watched every episode a million times. Science fiction has always had these two pulls, but one of them was about real social commentary, and that’s where “Star Trek’s” strengths are. I grew up inculcated with a sort of lovely liberal, diverse ethic that “Star Trek” baked right into the show, and that came right from Roddenberry.

    I will say, as a fan, every single human I’ve ever met within the “Star Trek” franchise is awesome. It’s like, this is a franchise born out of a cohesive work unit, and it really shows in the movies that they make.

    Michael Dorn: I still don’t know what “Star Trek” means — I really don’t! … CHiPs.” I didn’t know this until we had this conversation: Bob said, “You know, Michael, you created a character that’s an icon. That this guy is not just some guy, I mean, this is a guy that’s going to last, and it’s rare. You’re in the top .001% of actors who have done anything like that.” And at that point, that’s when I went, “My God, you’re right.” That’s when it kind of hit me.

    Jeri Ryan: It’s amazing the doors this has opened for us to get to meet people that are actually doing what we pretended to be doing on the show is really cool.

    Scott Bakula: I talked to a guy on the International Space Station with NASA. We sent up DVDs of our show, and he was watching it in space. We talked until Earth moved enough so we couldn’t talk anymore. We talked and talked and he said, “I’m going to lose you, sir.” He kept circling the planet. That was pretty cool. He made a video and sent it to us of them floating around up there and hanging out. It was combining all of it, it was completely surreal.

    We met a lot of the astronauts, who would come to the set, and to actually speak to somebody who was doing it up there was just something you wouldn’t expect you’d ever get to do in your life.

    Michael Dorn: I was a big airplane buff when I was growing up — I loved airplanes and I loved test pilots and I loved my cereal boxes, the boxtops with Friendship 7, John Glenn’s capsule. Those are the guys that I had a chance to meet that really kind of fueled my youth. That was amazing, because you’re talking about — they went to the moon! I mean, come on! Those are the guys that I just loved.

    Jeri Ryan: Specifically, for the character that I played, I heard from a lot of people on the autism spectrum who could relate to her, and said that this really helped them to see someone on TV, who kind of acted the way they did, and wasn’t sure of what they were doing, and was trying to figure things out socially, and that’s how they felt. And it was so touching for me, and I love that that was something that people could feel

    Scott Bakula: I was at the Griffith Park Observatory with my whole family, and a gal there came up and said “Hi, I work at the Jet Propulsion Laboratory. I sort of started working there because of ‘Star Trek.’” “Oh, that’s very nice. What do you do?” “You know the little thing that just landed on Mars?” she said, “Well, I kind of built that.”

    I said, “Are you kidding?” “Yeah, and I’m actually running it around Mars.” I was like, “Wow!” Yeah, and she’s like, “I’m such a fan of your show.” I said, “Forget about my show! How about you? You’re unbelievable!”

    William Shatner: For me, I love talking to people and finding the story and the character of who this person is and how they lived up to this point, and I’ve done shows in that way. I’ve just come back from Vancouver, where I was talking to the great geneticist from Amherst College, Dr. David Suzuki.

    It’s meeting people like Dr. Suzuki, astronaut Chris Hadfield, who I just interviewed a couple days ago at JPL — all of JPL subscribes to “Star Trek.” As does NASA. I’m doing a show for NASA, and all of NASA is enamored of “Star Trek.” I went to the doctor and he said “I became a doctor because of ‘Star Trek.’ Now spread your legs.”

    Brent Spiner: I had the opportunity to meet Dr. Hawking because he did an episode of the show. We met all of the Mercury astronauts, they were all still with us at the 30th anniversary of Alan Shepard’s first flight. It was overwhelming, and at that event was also Bob Hope and Walter Cronkite, and we were there, as pretend heroes.

    But for me, the most rewarding experience has been meeting all of these people: all of the family of “Star Trek” that have been in all of these episodes and films. The great creative people that I’ve got to rub shoulders with has been amazing. It’s a huge family at this point.

    Zachary Quinto: Hands down, my favorite part of filming these movies is getting to spend all my time with these people who are incredible. It keeps being brought up that we’ve been doing this for almost ten years, which is kind of unfathomable, but it was 2007 when we made the first movie. We are truly a family to one another. Even though we only get to work together every few years, we stay in touch and we stay connected. These are people that will be in my life for the rest of it. That to me is easily the best part about the experience.

    Justin Lin: I remember stepping into the hallways of Enterprise. The lights aren’t on and it’s still [being painted] and stuff. Just walking in there and feeling like, “Wow, I’m now part of this.”

    Karl Urban: Anytime you’re on the bridge of the Enterprise, and there’s 50 million buttons, you cannot help but go and push every single one of them. Just to see if something’s going to happen.

    J.J. Abrams: To be talking about the 50th anniversary is insane! I was born the same year that “Star Trek” was, and I know how old I feel. So the idea that this thing endures is incredible, and a real honor to be part of.

    Simon Pegg: I love that the universe is a boundless place and there’s so many adventures to be had. And as long as we have this idea that we might not just all kill ourselves and die in a big fire, we might actually become slightly more enlightened, slightly more tolerant beings and go off into space — THAT is a lovely idea that I think secretly the vast majority of us want to achieve, you know? “Star Trek” will live forever.

    Rod Roddenberry (son of “Star Trek” creator Gene Roddenberry; executive producer, “Star Trek: Discovery”): You probably can’t put this, but I think my dad would say, “Holy sh*t, this is amazing!” You know, he used to do something pretty funny. He would get on stage, and he would fold his arms and kind of look at the audience and say, “Yep, just the way I planned it!” in a joking sort of way. But I know he’d be honored and thrilled, and he’d want to give so much credit to the fans. I think he’d be blown away by it, absolutely.

  • 13 Things You Never Knew About ‘Manhunter,’ the First Hannibal Lecter Movie

    Michael Mann‘s “Manhunter” has been such a vastly influential crime thriller that you’d hardly know it was a massive flop in theaters. Released 30 years ago this week, on August 15, 1986,
    “Manhunter” cost $15 million to make but returned only $8.6 million at the box office.

    Nonetheless, it would earn recognition over the years as the first movie to be made from one of Thomas Harris’ Hannibal Lecter novels, so we have it to thank for such films as “Hannibal.” Plus, it was the first major appearance in pop culture of a new type of crime fighter, the criminal profiler who uses forensics and psychology to hunt down killers, an innovation that led to such TV dramas as “The X-Files,” “Profiler,” “Criminal Minds,” and the “CSI” franchise, whose flagship series took its leading man, William Petersen, from “Manhunter.”

    Read on for killer behind-the-scenes details of the making of this seminal cult favorite.1. Producer Dino De Laurentiis was behind this adaptation of Harris’s novel “Red Dragon,” but having recently released the Michael Cimino flop “Year of the Dragon,” he wanted a different title. He also didn’t want viewers thinking it was a martial arts film. So he changed the title to “Manhunter,” over the objections of director Mann and co-star Brian Cox (pictured).

    2. For the lead role of FBI profiler Will Graham, the filmmakers considered Nick Nolte, Richard Gere, Mel Gibson, and Paul Newman. Mann ultimately went with Petersen (below), after seeing him play a relentless sleuth in 1985’s “To Live and Die in L.A.3. For the part of Hannibal Lecktor (yep, that’s how it was spelled in the script), the producers thought of John Lithgow, Mandy Patinkin, and Brian Dennehy. It was Dennehy, however, who recommended Cox.

    4. Tom Noonan, who won the role of serial killer Francis “The Tooth Fairy” Dolarhyde, made a point of not meeting any of the other actors until his scenes with them; that way, he could get into the mindset of a solipsistic stalker isolated in his own fantasy world.
    5. Noonan ultimately decided not to research any real-life serial killers to prepare for his role, but others on the set did. To learn how investigators cope with the disturbing details of such cases, Petersen consulted with the FBI Behavioral Science Unit and Chicago Police detective Charles Adamson — the co-creator of Mann’s “Crime Story” TV series and the inspiration for Al Pacino‘s character in Mann’s later classic “Heat.” The star also talked with California investigators on the then-fresh Richard Ramirez “Night Stalker” case.

    6. Scottish-born Cox took inspiration from Scottish serial killer Peter Manuel. Mann, who had corresponded for years with jailed killer Dennis Wayne Wallace, learned from the convict that he had been obsessed with a woman he barely knew and considered Iron Butterfly’s “In-A-Gadda-Da-Vida” to be their song, which is how Mann picked the sinister-sounding track for the movie’s climax.

    7. To play Reba McClane, Dolarhyde’s blind love interest, Joan Allen (pictured) did research at the New York Institute for the Blind and practiced by walking blindfolded around New York City.
    8. Petersen claims the scene of Graham falling asleep on a plane while examining crime scene photos had to be shot guerrilla-filmmaking style, as United Airlines had declined to give the production permission to shoot on a commercial jetliner. Mann bought coach tickets anyway on a 4 p.m. United flight from Chicago to Florida, so that there would be a sunset visible from the right side of the plane, and the crew packed their cameras and lights in their carry-on bags. (This was in the days before 9/11 and omnipresent metal detectors at airports.) They filmed the scene on the fly — literally — and compensated the passengers and the startled and upset flight crew for the nuisance by giving away “Miami Vice” crew jackets.

    9. Scheduling on the production was so tight that the special effects crew had already left the shoot when it came time to film the climactic gunfight in Dolarhyde’s kitchen, so Mann and the rest of the crew had to improvise the FX. They’d blow ketchup through hoses to simulate blood spatter. Allen has said Petersen caught a shard of glass in his thigh from a jar tossed to shatter as if hit by bullets, but a source close to the filmmakers insists no jars were tossed.

    10. Noonan spent so much time lying in a pool of fake blood, made from dyed corn syrup, that he got stuck to the floor.11. Like the real-life profilers Petersen had met, he couldn’t shake the job at the end of the day. After “Manhunter,” he went on to do a play in Chicago but kept feeling the Will Graham character coming out in his performance. He finally shaved his beard, cut his hair, and dyed it blond so he’d see a different face when he looked in the mirror.

    12. At the time Cox was making “Manhunter,” he shared an agent with Anthony Hopkins, who was then busy starring in “King Lear” at England’s National Theatre. Five years later, when Jonathan Demme cast Hopkins as Hannibal Lecter in “Silence of the Lambs,” Cox was playing Lear at the National Theatre.
    13. Mann hired cinematographer Dante Spinotti for “Manhunter” on De Laurentiis’s recommendation and ended up working with him on five movies. Spinotti was also the cinematographer for Brett Ratner‘s “Red Dragon” remake in 2002.

    UPDATE: This article has been updated to include new information from a source close to the filmmakers.

  • Bryan Fuller Reveals New ‘Star Trek’ Details, Says Series Will ‘Eventually’ Revisit Characters

    42nd Annual Saturn Awards - ArrivalsFifty years after the dawn of its original five-year mission, it’s clear that there’s very likely no final frontier when it comes to “Star Trek.” And even as fans celebrate its rich history on the 50th anniversary, Bryan Fuller is ready to captain “Trek’s” Next Iteration into an even bolder future.

    Following its debut in 1966 and an abbreviated three-season network run, creator Gene Roddenberry‘s “Star Trek” has become, in the intervening five decades, the most singular (and profitable) phenomenon ever spawned by the television medium, and holder of many unique distinctions: one of the earliest series ever given a second shot at a pilot when the first outing proved a bit too cerebral but showed great potential; cancelled not once but twice, after a massive, organized fan letter-writing campaign earned a reversal on its first axing; one of the first bona fide syndication sensations, broadening its cult audience into legions of viewers; one of the first series to be adapted into animated form, reuniting the bulk of the live-action cast; and the first-ever series to spawn the fan-centric convention culture and eventual online communities that reign today, attracting and uniting the passionate fanbase, both literally and virtually.

    There’s more: A sequel series was conceived to launch a fourth broadcast network that never came to be in the 1970s, but (with a little help from the sensational popularity of “Star Trek: The Next Generation” proved the durability of the concept beyond its beloved original cast — it won Peabody Awards, built a merchandizing juggernaut and launched a profitable first-run syndication market that subsequently gave birth to hits like “Baywatch” and “Xena: Warrior Princess” before ending on its own terms after seven seasons and moving into its own film series.

    Additional shows like “Deep Space Nine” built the brand, predicting dynastic TV like “Law & Order” and “CSI,” and with “Star Trek: Voyager” the franchise got around to launching a new broadcast network, UPN. After a period of cultural oversaturation and subsequent dormancy, “Trek” was successfully rebooted, reimagined, and re-youthified by former TV wunderkind J.J. Abrams into a faster, flashier, and equally popular new film series, proving yet again that “Star Trek” could continually go where no TV series has gone before.

    And this is merely the show business pedigree. The social impact of “Star Trek” over its 50-year mission — from including a multiracial crew with minorities in command roles at the height of the Civil Rights struggle to TV’s first interracial kiss; from the innumerable fans it inspired to pursue careers in the sciences and the arts to its fictional technologies turned fact today; and from William Shatner‘s musical career to the Internet dominance of George Takei — is, quite frankly, without measure or precedent.

    Which brings me to Bryan Fuller, recently anointed at the next television caretaker of the “Star Trek” storytelling legacy, which once again pioneers new ground as the flagship original series of CBS’s All Access streaming service.

    If Fuller’s pedigree as the creator of beloved, creatively adventurous series — both original, like “Pushing Daisies,” and building out pre-existing lore, like “Hannibal” — isn’t enough to excite fans looking for a return to the “Trek” tradition of provocative allegorical storytelling, consider that not only has Fuller already worked in the show’s universe as a writer for “Deep Space Nine” and “Voyager,” he’s assembled a dream team of supporting creators from “Trek’s” diverse history to work on the show.

    Among them are filmmaker Fringe,” “Hawaii Five-0″ and ‘Scorpion”; writer-producer Joe Menosky, a veteran of three “Star Trek” syndicated series; and Roddenberry Productions’ Trevor Roth and Rod Roddenberry, the son of the former airline pilot-turned-LAPD speechwriter-turned-TV writer-producer who created it all.

    While visiting the Saturn Awards, the sci-fi/superhero/fantasy equivalent of the Oscars and Emmys, I had my first chance to chat with Fuller since the new “Trek” series was announced, and as our conversation reveals, the as-yet-untitled new series he’s working on may be exploring even more new worlds, new civilizations and, perhaps most importantly, new philosophical questions about human existence at the furthest reaches of the galaxy. The series will never travel far from the legacy he hopes it upholds.

    Moviefone: You have a history with the franchise, you’re going to have more history with the franchise. As we approach the 50th anniversary, what has “Star Trek” meant to you over the years?

    Bryan Fuller: Oh, well, it’s the promise of a better world. Not only is it wonderful high-concept science-fiction storytelling, but it is the promise that we’re going to get our sh*t together as a species, fix our planet, and move out to the galaxy as a team. I think that’s the most exciting … that’s the most promising thing that “Star Trek” offers, is a vision of the future where we do all get along.

    You have a dream team assembled — creative people plucked from various eras in “Star Trek” history. What has that aspect brought to the table for you, in terms of who is putting the show together?

    I think it’s really about making sure that we maintain authenticity. One of the things that I am so excited about is working with Joe Menosky again, who I worked with on “Voyager,” and who was a pivotal writing in “Next Generation,” and a mentor of mine. So it’s wonderful to be working with him on “Star Trek.”

    It’s wonderful to be working with Nicholas Meyer, who I’ve admired for a long time. I pinch myself from time to time just being in the room and having the conversations that we’re having.

    Nick in particular is known for, arguably, the best of the movies, really: “Star Trek II: The Wrath of Khan.”

    I agree.

    What has he brought to bear on the new series, with that distinctive dramatic sensibility that he has?

    Well, a clarity and a cleanliness to the storytelling. An ability to ground science-fiction in a relatable way, and also making sure that we’re telling character stories.

    There’s been a lot of speculation about the format and setting of the new series. What would you like to put out there now, to wet the appetite for the audience?

    I mean, it’s funny. I’ve read that we’re [set] before “Next Generation,” after [“Star Trek VI: The] Undiscovered Country,” which is false. I’ve read that it’s an anthology show, which is not accurate. So it’s interesting to see those suggestions, and seeing the truth mixed in with them and going like, “Oh, they got that part right…” But it’s sort of on the truth-o-meter on PolitiFacts. It’s sort of like some truth, and a lot of like, “No — pants on fire! That’s not true.”

    People got excited about the word “crews,” plural, in the teaser trailer.

    Yeah.

    Does that have a specific meaning? Or was that sort of a word that was used?

    No, I think we will be seeing lots of crews in the story. One of the things that is exciting for me is that we are telling a “Star Trek” story in a modern way. We’re telling a 13-chapter story in this first season. It’s nice to be able to dig deep into things that would have been breezed passed if we were doing episodic and had to contain a story to an episode.

    Would you like to revisit any characters? Is there a window open to bring in characters that have been established in the canon?

    Eventually. Eventually.

    Is the streaming aspect of it — is that going to affect it at all? Are you going to drop them all at once? Do you even know yet?

    No, it’s going to be weekly. And what it does allow us is, we are not subject to broadcast standards and practices. So we can have profanity if we choose — not that I want to see a “Star Trek” with lots of profanity. But we can certainly be more graphic than you would on broadcast network television.

    Tell me about the allegory element that is so potent in “Star Trek” storytelling, and what you want to do, what boundaries you want to push in this day and age.

    Well, I think that “Star Trek” is a show of firsts. And in researching the characters for this new iteration of “Star Trek,” I’ve been talking to Mae Jemison, who’s the first black woman in space, and who saw “Star Trek” in the ’60s and who saw Nichelle Nichols [as Lt. Uhura] on the bridge of a ship and said, “I see myself in space.”

    So there’s something wonderful about the legacy that Nichelle Nichols represents as giving a gift to people who weren’t previously able to see themselves in the future. We are going to be continuing that tradition of progressive casting and progressive character work to be an inclusive world.%Slideshow-219909%