Tag: david-bowie

  • Robert Eggers Reportedly Directing New ‘Labyrinth’

    (Left) Director Robert Eggers on the set of his film 'Nosferatu', a Focus Features release. (Right) David Bowie as Jareth in 'Labyrinth.' Photo: The Jim Henson Company. Copyright: Labyrinth Enterprises.
    (Left) Director Robert Eggers on the set of his film ‘Nosferatu’, a Focus Features release. (Right) David Bowie as Jareth in ‘Labyrinth.’ Photo: The Jim Henson Company. Copyright: Labyrinth Enterprises.

    Preview:

    • Robert Eggers is reportedly to make a new ‘Labyrinth’ movie.
    • The likes of Scott Derrickson and Fede Álvarez have been attached in the past.
    • The 1986 original starred Jennifer Connelly and David Bowie.

    Writer/director Robert Eggers has his most recent stab at celluloid fear, ‘Nosferatu’ on screens at the moment. The movie, a new version of what was a bootleg take on ‘Dracula’ features some truly creepy character work and both psychological and physical horror.

    Given that, and his history with movies such as ‘The Witch,’ ‘The Northman’ and ‘The Lighthouse,’ he might not appear to be the first person you’d think to tackling a remake of a film originally brought to screens by Muppet maestro Jim Henson, which for all its scarier themes, is mostly a family fantasy adventure.

    And yet, at least according to reporter Jeff Sneider, that’s exactly what could happen, as Sony has Eggers setting his sights on a reboot of 1986 movie ‘Labyrinth.’

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    What’s the story of ‘Labyrinth’?

    (L to R) David Bowie as Jareth and Jennifer Connelly as Sarah in 'Labyrinth.' Photo: The Jim Henson Company. Copyright: Labyrinth Enterprises.
    (L to R) David Bowie as Jareth and Jennifer Connelly as Sarah in ‘Labyrinth.’ Photo: The Jim Henson Company. Copyright: Labyrinth Enterprises.

    The original movie was directed by Henson and naturally features a fair amount of fresh felt creations from his workshop.

    Jennifer Connelly stars as Sarah Williams, a teenager forced by her father and stepmother to babysit her baby stepbrother, Toby, while they are out.

    The child will not stop crying, and Sarah wishes that he would be taken away. Out of the blue, he stops crying and when she looks for him in his crib, she learns that her wish was granted, and the Goblin King Jareth (David Bowie) has taken him to his castle in the Goblin City in the middle of a labyrinth. Sarah repents and asks Jareth to give him back, but Jareth tells her that she has to rescue him before midnight.

    Sarah finds some willing allies, but the question remains… Will they rescue Toby in time?

    Henson came up with the original story alongside Dennis Lee, and script duties were handed over to Monty Python member Terry Jones (with Elaine May contributing an uncredited polish to boost the characters and humor of Sarah and Jareth).

    Related Article: Brian Henson Talks ‘Labyrinth’ Digital Re-Release and Playing Hoggle

    What has happened with the new version so far?

    The CEO of the Jim Henson Company, Lisa Henson.
    The CEO of the Jim Henson Company, Lisa Henson.

    Eggers considering the new movie might not be as strange as it sounds, as Sony and the Jim Henson Company (run by Henson’s daughter, Lisa) has had horror filmmakers attached in the past.

    There have been loose plans to make a new ‘Labyrinth’ film for several years, though a direct sequel would certainly seem to be a tough ask given the death of Bowie in 2016. The challenge of finding someone who could channel his unique energy is surely a huge one.

    At one point, ‘Alien: Romulus’ filmmaker Fede Álvarez was planning to direct before he announced in 2020 that he had stepped down. At the time, it was reported that the project was still moving forward with ‘Doctor Strange’ and ‘The Black Phone’ director Scott Derrickson taking over at the helm.

    Yet Derrickson revealed last year that his version had stalled at the script stage. Here’s what he told Comicbook.com:

    “I don’t know what’s happening with that. We never got the script all the way to a place where the studio wanted to make it, but I was very proud of the work that we did on it. And it’s a hard, hard project to turn into something commercially viable, because it’s so imaginative and surreal that there’s no way that it can be done cheaply. And at the same time, it’s so daring and different that it is a tough movie for a studio to feel competent that it has enough commercial value to earn a profit. So I think that it’s a tough nut to crack, but all I can tell you is I’m very proud of the work that we did on it. We certainly had a great film in mind. Because the project is still in development, I probably shouldn’t say… I think we had a really cool idea, but I don’t want to blow that in case the movie does get made.”

    While the issue of Bowie remains up in the air, Connelly has said that she at least had conversations about returning, though she admitted to Collider that she wasn’t sure where the movie was going to land.

    According to Brian Henson –– Jim’s son and a director in his own right who also works for the family company, there is still life in the project, according to his statement to Comicbook.com:

    “That’s a question you have to ask my sister. My sister Lisa, who’s CEO of the Jim Henson Company. That is a project that we are very excited about, but we can’t talk about it.”

    Nothing official has yet been said about Eggers’ involvement, nor whether he’ll look to make a legacy sequel or re-imagine the original (as he has with his atmospheric ‘Nosferatu’), but we’d certainly be intrigued to see what might result. Does anyone have a set of juggling crystal balls we can use to get a glimpse?

    When will then new ‘Labyrinth’ be in theaters?

    'Labyrinth' is available for purchase or to rent on digital beginning February 6th.
    ‘Labyrinth’ is available for purchase or to rent on digital beginning February 6th.

    With the film still seemingly stuck in development limbo, we’re not even going to guess at this point when it might head to theaters.

    But if Eggers can actually make it happen, then it has a stronger chance than ever of actually getting to screens.

    'Nosferatu' director Robert Eggers.
    ‘Nosferatu’ director Robert Eggers.

    List of Robert Eggers Movies:

    Buy Tickets: ‘Nosferatu’ Movie Showtimes

    Buy Robert Eggers Movies on Amazon

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  • ‘Labyrinth’ Digital Re-Release Interview: Brian Henson

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    Available for purchase or to rent on digital beginning February 6th is the Jim Henson directed classic ‘Labyrinth,’ which stars David Bowie and Oscar-winner Jennifer Connelly (‘Top Gun: Maverick’).

    Brian Henson as Hoggle and Jennifer Connelly as Sarah in 'Labyrinth.'
    (L to R) Brian Henson as Hoggle and Jennifer Connelly as Sarah in ‘Labyrinth.’ Photo: The Jim Henson Company. Copyright: Labyrinth Enterprises.

    Moviefone recently had the pleasure of speaking with Jim Henson’s son, Chairman of The Jim Henson Company and the voice of Hoggle, Brian Henson. He talked about his work on ‘Labyrinth,’ developing the project, why his father wanted to make the movie, casting David Bowie and Jennifer Connelly, voicing Hoggle, the legacy of the film and the long-rumored sequel.

    You can read the full interview below or click on the video player above to watch the interview.

    Brian Henson on the set of 'Labyrinth.'
    Brian Henson on the set of ‘Labyrinth.’ Photo: The Jim Henson Company. Copyright: Labyrinth Enterprises.

    Moviefone: To begin with, can you talk about the development of this movie, why your father was so passionate about making it, and the themes that he was excited to explore?

    Brian Henson: I was largely in school. My job was training puppeteers, being the puppeteer captain, directing background action and performing Hoggle, so development I was aware of, but not intimately involved in. But I certainly know that he did ‘The Dark Crystal’ and although people love the movie and critics love the movie, there was generally a feeling of, “We kind of missed that Henson irreverence. We kind of missed having guest stars and celebrity mixed in. We kind of missed the music and we kind of missed some of the comedy.” So, my dad was trying to find the right project that was still fantasy because he loved what he was doing in ‘Dark Crystal,’ but a world and a story that could bring back in music, comedy and irreverence as well as all that stuff. So that was his thinking. Then the whole thing with a baby and losing a baby, I know that in the movie he does credit Maurice Sendak as one of his main inspirations for the movie, and you saw a lot of that in Maurice Sendak’s work. It was in his illustrated novels. There was a lot of babies in precarious situations, completely ignorant of the danger that they were in, and that tickled my dad. I mean, it’s a dark sense of humor, but there was a lot of that. Then my dad had three daughters and was very aware of that point in time, and I think that was very intriguing to him. I mean, the coming of age of a boy story we’ve seen done many times, but it’s a very different journey to a girl becoming a woman, and all the dangers that comes with that. I think that intrigued him a lot as a parent. Then the other thing is I’m sure that with five kids in the family, he must have heard, “That’s not fair,” so many times that I think the theme of, “It’s not fair,” was important to him. Life is not always fair because in ‘Labyrinth,’ Sarah’s constantly going, “It’s not fair. I did the right thing, and this is not fair.” Sometimes things aren’t fair, and you just must know if you’re right and if you’re a good person, then you must just keep trying. You just must keep trying.

    David Bowie as Jareth in 'Labyrinth.'
    David Bowie as Jareth in ‘Labyrinth.’ Photo: The Jim Henson Company. Copyright: Labyrinth Enterprises.

    MF: Can you talk about casting David Bowie and his contributions to the film’s music?

    BH: I think my dad and David, that was a good combination. I know he was considering a few names. I was probably 21 when he was in that casting process. ‘Modern Love’ had only come out a couple of years earlier. I thought David Bowie was the greatest thing on the planet. I thought he was so much more. He was like a demigod to me. I thought he was really something special. So, I was super excited that he was casting David, and I think the two of them got along. I mean, other choices that he was thinking of had a similar work ethic, but David was a workaholic, and a wildly prolific creator just like my dad. So, they were both these wildly prolific artists, and I think that made it very easy for them to work together. I remember when my dad got the first recordings from David. He was used to working with songwriters who were writing songs for movies, where when you got the first recordings it was just a piano and a vocal. That’s usually what you heard but David brought in fully produced tracks with the Harlem choir singing in the background. I remember it was extraordinary. The music was great, but I think my dad would give David just a little bit of guidance, but really let David write the songs. They were his songs.

    Jennifer Connelly as Sarah in 'Labyrinth.'
    Jennifer Connelly as Sarah in ‘Labyrinth.’ Photo: The Jim Henson Company. Copyright: Labyrinth Enterprises.

    MF: Can you also talk about the casting of a young Jennifer Connelly as Sarah?

    BH: Well, with Jennifer, my dad was casting for the character of Sarah. I mean, they saw a lot of actresses. I was the puppeteer for Sir Didymus for a call back for screen testing a short list. So, I was involved in screen testing probably 10 actresses. My dad was directing, and then ultimately my dad decided on Jennifer. He liked her the most and she did a fantastic job, but it was really a wide casting call. I know there were a few actresses that age that were famous at the time, they were all also interested. So that was Jennifer. She had to get through all the levels of callbacks and screen tests and all that, and just did a wonderful job.

    Related Article: Every Muppets Movie Ranked!

    Director Jim Henson and Brian Henson as Hoggle on the set of 'Labyrinth.'
    (L to R) Director Jim Henson and Brian Henson as Hoggle on the set of ‘Labyrinth.’ Photo: The Jim Henson Company. Copyright: Labyrinth Enterprises.

    MF: How did you end up playing Hoggle and can you talk about creating the voice for the character?

    BH: (My dad) wanted me to try with Hoggle because I was the lead puppeteer, so Shari (Weiser) is inside the costume and she’s doing the body, she’s inside. Then me plus three other puppeteers were doing the face. I was doing the mouth. So, I had to voice it because I was working the mouth. Initially my dad wanted to try it with another actor, a cockney comedic actor, a British actor, who was older, and a very funny guy, to see if I could lip-sync while he was talking. But he had such a quirky timing, and he was so unpredictable, it was just impossible to keep up with him. He’d start talking before I was ready. We tried for only a day, and it was clear to my dad, he was like, “This is never going to happen.” So, he said to me, “I don’t know who the voice will be. It may be that actor, but it might be another actor. I’m just going to leave that. So why don’t you do Hoggle, but I’m going to replace your voice.” Puppeteering is more than a technical skill. Obviously, you’re delivering a performance, an emotional performance, but I never thought it would be me. First, I was terrified of doing a Dick Van Dyke (from ‘Marry Poppins’) and just doing a terrible British accent. I just made it kind of British, but also just kind of weird. I just slipped into this character. Then, because Shari couldn’t see unless the mouth was open, if the mouth wasn’t open, Hoggle would walk into a tree. So, then I had to come up with all these reasons to open the mouth. So, whenever he’s walking, he’s always saying, “Go, get out of the way.” He’s just always grumbling and mumbling to himself, literally as an excuse to keep opening the mouth so that Shari could see where the person was that Hoggle was talking to, or where the tree was that she would trip. That’s the way that developed. Then at the end, my dad said, “You know what? Your voice has kind of grown on me, so I think we’re just going to keep it.” I was like, “Okay, great.”

    David Bowie as Jareth and Jennifer Connelly as Sarah in 'Labyrinth.'
    (L to R) David Bowie as Jareth and Jennifer Connelly as Sarah in ‘Labyrinth.’ Photo: The Jim Henson Company. Copyright: Labyrinth Enterprises.

    MF: Can you talk about the legacy of the movie and why it’s still popular to this day?

    BH: I think that the legacy, the film just gets more and more popular. That’s one thing that’s wonderful about it. That’s one of the great things about fantasy in general, because even science fiction can date itself because its often science concepts that then actually have happened, but they didn’t happen anything like what you thought they were going to look like. With fantasy, it never really dates itself. Now, certainly if you look at ‘Labyrinth’ or ‘The Dark Crystal,’ you would say that’s a retro film art form. When we were doing these animatronic characters at the time, I think we genuinely believed that the audience would really believe that they were living creatures. Now, the sophisticated audience today that’s used to seeing sophisticated effects will look at what we were doing in ‘Labyrinth’ and ‘Dark Crystal’ and go, well, they’re puppets. They’re just good puppets. They’re cool puppets, but they’re puppets. The legacy of that is that the audience can really appreciate the artistry, I think. So, when you watch these films, particularly these big fantasy films from the ’80s, the artistry is so clear that as an audience member, you can really appreciate all those creative people, that army of creative people and what they did. Whereas if you watch a big Marvel film, it may have the same size army of artists working, but it’s just kind of hard to see what they were doing. Whereas when you watch these fantasy films from the ’80s, you see the sculpting, the conceptualizing, the painting and the fabric work, and you can really see all the artistry. So that can be very inspiring, I think, to a modern audience.

    MF: Finally, what is the status of the long-rumored sequel?

    BH: As for a sequel, I’m not allowed to say anything. I can say it’s still active. We are still very invested in it and are very excited about it. But I can’t say anything more about it.

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    What is the Plot of ‘Labyrinth’?

    When teen Sarah (Jennifer Connelly) is forced to babysit her half-brother Toby (Toby Froud) she summons Jareth the Goblin King (David Bowie) to take him away. When he is kidnapped Sarah is given just thirteen hours to solve a labyrinth and rescue him.

    Who is in the Cast of ‘Labyrinth’?

    • David Bowie as Jareth
    • Jennifer Connelly as Sarah
    • Toby Froud as Toby
    • Shelley Thompson as Irene
    • Christopher Malcolm as Sarah and Toby’s father
    • Brian Henson and Shari Weiser as Hoggle
    'Labyrinth' is available for purchase or to rent on digital beginning February 6th.
    ‘Labyrinth’ is available for purchase or to rent on digital beginning February 6th.

    Other Jim Henson Company Movies:

    Buy Jim Henson Movies on Amazon

  • Cameron Crowe Wanted to Do a David Bowie Documentary, Bowie Said ‘No’

    Cameron Crowe Wanted to Do a David Bowie Documentary, Bowie Said ‘No’

    British Lion Film Corporation

    Cameron Crowe wanted to do a memoir-style documentary about David Bowie very much like his current film “David Crosby: Remember My Name.”

    But, sadly, the rock star turned him down.

    Crowe told Variety, “I tried for Bowie, like about five years ago, maybe four. With the documentaries that we’ve done, the ethic has been to cut out the middleman and to let the artist talk to you and not have a cavalcade of talking heads. And if you get the artist at the right time, when they’re ready to talk — which, as you know well, is everything … Sometimes when they’re putting out a really uncommercial project, they’re ready to talk, to explain it to you.”

    He added, “I thought, ‘This is a great time for Bowie. He hasn’t come out with anything new yet. Maybe for the release of this next album, he’s ready to do that thing.’ Because similarly to Crosby, when I was ever around him, he was that honest. But he said no.”

    Bowie passed away in January 2016 at age 69. If you want to see a documentary about the music icon, there’s always  the 1973 concert film, “Ziggy Stardust and the Spiders from Mars.”

    Crowe said he’d also be interested in making the same kind of documentary with John Fogerty and Joni Mitchell.

    “David Crosby: Remember My Name” is in theaters now.

    [Via The Playlist, Variety]

  • Duncan Jones Doesn’t Approve of Johnny Flynn Playing Dad David Bowie in ‘Stardust’

    Duncan Jones Doesn’t Approve of Johnny Flynn Playing Dad David Bowie in ‘Stardust’

    Meneret Productions

    Actor/musician Johnny Flynn (“Beast,” “Genius”) has been cast to play a young David Bowie in the upcoming film “Stardust,” about the rock icon’s first visit to the U.S. in 1971.

    Just one hitch: Bowie’s son, director Duncan Jones (whose films include”Moon”), isn’t on board at all. He tweeted, “As it stands, this movie won’t have any of dad’s music in it, & I can’t imagine that changing.”

    https://twitter.com/ManMadeMoon/status/1091041121398972418

    According to the producers, the project won’t involve any Bowie songs, so the approval or disapproval of Bowie’s family wouldn’t necessarily derail it. In a statement they said the film is not a biopic like “Bohemian Rhapsody.”

    “It is a moment in time film at a turning point in David’s life, and is not reliant on Bowie’s music,” read the statement. “Much like ‘Nowhere Boy‘ for [John] Lennon, or ‘Control‘ for Joy Division, the production uses period music and songs that Bowie covered, but not his original tracks.”

    [Worth noting: The excellent and underseen “Control,” in which Sam Riley played Joy Division lead singer Ian Curtis, featured the band’s music extensively. The recent Jimi Hendrix biopic “Jimi: All Is by My Side,” starring André Benjamin as Hendrix, was made without the blessing of the Hendrix estate and so featured zero songs written by the late rock star.]

    Jones did tweet that he’d happily give his blessing to author Neil Gaiman (who penned the non-Bowie fantasy novel “Stardust“) to write an animated version of his father’s characters, but wouldn’t approve of a biopic.

    As for the rest of the “Stardust” cast, Jena Malone will play his then-wife Angie (and mother of Jones) and Marc Maron will play a record company publicist. Principal photography is set to begin in June.

    Flynn is just ending a run on  London’s West End opposite “Game of Thrones” star Kit Harington (“Game of Thrones”) in Sam Shepherd’s play “True West.” His films include the 2011 indie “The Lotus Eaters,” in which he played a drug-addicted  musician and “Song One,” in which his musician character romances Anne Hathaway.

    [Via Variety]

  • Filmmaker Nicolas Roeg Dead at Age 90

    Filmmaker Nicolas Roeg Dead at Age 90

    British Lion Films

    Nicolas Roeg was the type of filmmaker who inspired obsession. His films were experimental and bold, but always had an internal logic, each bit fabricated lovingly and with a nearly forensic attention to detail. He took big risks (often when it came to who he cast in his films) and often broke new ground, all in the name of creating singular works of art that people would happily obsess over. And while Roeg died today at the age of 90, he left behind a body of work that felt unique and personal, especially in the pantheon of modern filmmakers. Each film felt handcrafted and singular; all the better to obsess over.

    Even if you don’t know Roeg’s work, chances are you’re aware of him. He began his career as a cinematographer and second-unit director, working for David Lean on such beloved epics as “Doctor Zhivago” and “Lawrence of Arabia,” and as a cinematographer on Roger Corman’s “Masque of the Red Death,” Francois Truffaut’s “Fahrenheit 451” and Richard Lester’s “Petulia.” 1970 saw the release of “Performance,” a film Roeg co-directed with Donald Cammell and which shares many of the defining characteristics of Roeg’s oeuvre, including his decision to cast a rock star in a lead role (this time it was Mick Jagger, who also contributed to the original score) and a loose, fractured structure that reveals itself the more times you watch it.

    The year after “Performance,” Roeg released one of his masterpieces – “Walkabout,” the story of a pair of British children who are left to roam the harsh Australian outback after their tony father commits suicide. The movie seems shocking today, from the full-frontal nudity of the young stars to the harshness of the suicide (the father first tries to kill the kids, before turning the gun on himself) to the tenderness with which Roeg portrays native aboriginal Australians. It’s a bona-fide masterwork and heralded Roeg as a major force not only in British cinema but on a global scale. After a little-seen documentary on the Glastonbury music festival, he released “Don’t Look Now” in 1973, a supernatural thriller based on a story by Daphne Du Maurier (the author that wrote the stories that would eventually become Hitchcock classics “Rebecca” and “The Birds”) that co-starred Donald Sutherland and Julie Christie as a young couple mourning the death of their child in Venice. (Sutherland adored the director and named one of his sons Roeg.) “Don’t Look Now” is now considered a classic, one of the scariest movies of all time, and one of the most influential. And not just because the sex scene, often cited as one of the most erotic in film history, was reportedly not simulated.

    Three years after “Don’t Look Now,” Roeg teamed up with another rock star for “The Man Who Fell to Earth,” casting David Bowie as a marooned alien creature on a cold and indifferent earth. A surreal masterpiece every bit as powerful as “Walkabout” or “Don’t Look Now,” it heralded Bowie as a major acting force and has proven an influential pop culture artifact whose echoes you can still feel today (there was even a direct reference to the movie’s iconic wallpaper in Zack Snyder’sWatchmen”). After “The Man Who Fell to Earth,” Roeg worked with yet another musician-turned-actor in Art Garfunkel for “Bad Timing.” A kinky, surrealistic thriller, the movie was awarded an X-rating in the United States for its sexual frankness. Garfunkel’s performance is iffier than either Jagger or Bowie’s, but it feels like an intensely personal, painful piece of work (his girlfriend at the time committed suicide during production) and the movie remains one of his more underrated efforts.

    In the years that followed, Roeg’s output would be just as interesting but less widely heralded, with his more notable works being “Eureka” (1983), which has a terrific cast, anchored by Gene Hackman as a greedy oilman, and “Insignificance” (1985), a theatrical chamber piece that imagines an encounter between Marilyn Monroe, Joseph McCarthy, Albert Einstein, and Joe DiMaggio. Even something as straightforward as those concepts becomes warped, fractured, and altogether unique in Roeg’s hands. (He also directed a terrific segment of 1987’s musical anthology “Aria.”) His last truly fascinating piece being 1990’s “The Witches,” which marked a terrific adaptation of British author Roald Dahl’s children’s book of the same name. It was criticized for being too scary which, of course, meant that it adapted Dahl brilliantly, and was one of the last movies Jim Henson ever worked on. Like most of Roeg’s films, its reputation has only strengthened over the years, with many rightfully acknowledging it as an ahead-of-its-time classic.

    In Roeg’s later career, he worked mostly in television (including an episode of “The Young Indiana Jones Chronicles”) and in marginally released oddities (like 2007’s bizarre-in-a-bad-way “Puffball,” which saw him reunite with Sutherland). But his influence and standing could never be diminished, with a number of modern filmmakers citing him as a premiere influence, among them Steven Soderbergh (who based the sex scene in “Out of Sight” on “Don’t Look Now”), Edgar Wright (who payed homage to the director in “Hot Fuzz”), Christopher Nolan (whose nonlinear editing style owes a huge debt to Roeg), Danny Boyle (ditto) and Guillermo del Toro (who spent the morning re-tweeting eulogies to the director and who often discussed remaking “The Witches”).

    If you’ve never seen one of Roeg’s movies, well, I envy you. Watching “Don’t Look Now” or “Walkabout” for the first time is like having a filmmaker speak directly to you, like you’ve been instantly inducted in a club exclusively for people who like the coolest, most creative stuff imaginable. Roeg was a filmmaker who shot to popularity early in his career and never stopped experimenting with craft and form, even after people stopped paying attention. He will be missed, he will be cherished, and he will be obsessed over, as long as there is cinema.

  • Gillian Anderson Stuns as David Bowie in ‘American Gods’

    American Gods.”

    In the cutting-edge Starz series (based on the book by Neil Gaiman), Anderson plays Media, the mouthpiece and P.R. rep of the New Gods, who appears as different pop culture icons. We’ve already seen her as Lucille Ball and she previewed her turn as Marilyn Monroe in a pic shared to Twitter.

    In this Sunday’s episode, “Lemon Scented You,” Media takes New God Technical Boy (Bruce Langley) to task over his assault on Shadow Moon (Ricky Whittle). Media (also managing to sound uncannily like Bowie) addresses her fellow God as “Aye, pretty thing, you,” and tells him he has “an image problem” and orders him to apologize to Moon and Mr. Wednesday (Ian McShane). Watch the clip over at IndieWire.

  • 15 Things You Never Knew About ‘Zoolander’

    It’s been 15 years since the release of “Zoolander” (on September 28, 2001), but being really, really, ridiculously good-looking never goes out of style.

    Ben Stiller‘s fashion industry satire remains a fan favorite (even if this year’s sequel “Zoolander 2” tarnished the brand a bit). As many times as you’ve watched David Bowie (RIP) referee that epic walk-off between Stiller’s Derek and Owen Wilson‘s Hansel, there’s a lot you may not know about “Zoolander.” So put on your best Blue Steel and read on for the behind-the-catwalk dish.
    1. The character of Derek Zoolander originated in 1996, when Stiller’s friend Drake Sather told him he wanted to cast him in a short satirical film about male models, commissioned for the VH1 Fashion Awards.

    “I said, ‘That’s ridiculous,’” Stiller recalled in 2013, “and Drake said, ‘Yeah, that’s why I want you to do it.” The short was a hit, so Sather and Stiller made another one the following year. These gave Stiller the blueprint for the film. The character’s last name is a blend of Mark Vanderloo and Johnny Zander, both prominent models at the time.
    2. Stiller named “Zoolander” villain Mugatu after a white-haired, ape-like monster from the original “Star Trek” series. The tufts of curly white hair on Will Ferrell’s head are also inspired by the venomous creature.
    3. Ferrell won the antagonist role when frequent Stiller collaborator Andy Dick had a scheduling conflict, having been booked to star in a TV project that ultimately failed to materialize. Dick did have enough time for a cameo as Olga the hairdresser.

    4. Future “True Blood” and “The Legend of Tarzan” star Alexander Skarsgård made his American film debut as Meekus, one of Derek’s ill-fated, gasoline-spraying male model friends.
    The Swedish actor was visiting his dad, actor Stellan Skarsgård, in Hollywood when he was offered the chance to audition for the bit part. He read with Stiller, won the role, got flown to New York (“Business class!” he marveled.), and shot the sequence. Returning to Sweden, he told his friends what a “piece of cake” Hollywood movie acting was. It took him a few thousand more failed auditions, he recalled while promoting “Tarzan” in June, to set him straight.

    5. Should moviegoers have known that Meekus and his ridiculously good-looking pals were doomed? The license plate on their Jeep reads, “RFK 575,” the same as on similarly fateful vehicles in the original “Final Destination” and “The Long Kiss Goodnight.”

    6. There were other future stars in “Zoolander.” One was Mark Ronson, playing a DJ years before he became famous for spinning platters in real life.
    7. Justin Theroux (above) was a little-known actor when he played a small role in “Zoolander” as the dreadlocked, breakdancing, evil DJ. (Yes, those are his own moves.) He’d later collaborate again with Stiller on the screenplays to “Tropic Thunder” and “Zoolander 2,” in which he’d reprise his evil DJ role.

    8. Mugatu’s homeless-themed “Derelicte” show was a spoof of a fashion line unveiled by John Galliano in 2000.
    9. Stiller had a Zoolander moment for real during the scene where David Duchovny explains the conspiracy. He asked, “Why male models?”, and after Duchovny’s lengthy explanation, Stiller forgot his next line, so he just asked, “Why male models?” again.
    10. In one scene, Wilson’s Hansel wears a jumpsuit with a name tag that reads, “Kumar.” This is supposedly an homage to actor Kumar Pallana, the Wes Anderson regular. Stiller and Wilson acted opposite him in Anderson’s “The Royal Tenenbaums,” released three months after “Zoolander.”

    11. “Zoolander” was one of the first films forced to make changes in the aftermath of 9/11, which occurred less than three weeks before the film’s scheduled release date. Aside from digitally editing out images of the Twin Towers, the filmmakers went ahead with the release as planned.

    “I could never think of a reason that we shouldn’t release the movie at that time,” Stiller said in 2013, “other than it might not do that well, which to me wasn’t the right reason to not release it.”
    12. “Zoolander” cost a reported $28 million to make and earned back $45 million in North America and another $16 million abroad.
    13. The unflattering references to Malaysia got “Zoolander” banned in that country. Elsewhere in Asia, the references were changed to “Micronesia.”
    14. A surprise “Zoolander” fan is artsy director Terrence Malick. The “Tree of Life” director reportedly considers the comedy one of his favorite movies, and he even programmed it into a festival slate at the Philbrook Museum of Arts in Tulsa in 2013. Stiller learned of Malick’s fandom and recorded a special video greeting in character for the director’s birthday.
    15. It took a while for “Zoolander” to be appreciated as a cult hit, thanks to cable and home video. Stiller has said that’s why it took so long to get a sequel greenlit.

    He first announced a follow-up in 2008, but it took until February of 2016 for the film to hit theaters. “Zoolander 2” was a critical and commercial dud, but that hasn’t stopped Stiller and Wilson from starring in “Zoolander: Super Model,” a cartoon that sees Derek and Hansel becoming superheroes. It debuted in August on Netflix in the U.K.; no word on whether we’ll ever get to see it here.
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  • ‘Labyrinth’: 10 Things You (Probably) Didn’t Know About This ’80s Classic

    Losing David Bowie in 2016 offered a wistful reminder that, for a lot of younger moviegoers, he was remembered less as a trailblazing musician than as Jareth the Goblin King in “Labyrinth.”

    Released 30 years ago this week (on June 27, 1986), the fantasy film wasn’t a hit at the time, but the Jim HensonGeorge Lucas collaboration became a cult favorite on home video. It also marked the first high-profile lead role for Jennifer Connelly, the last movie directed by Henson, and one of the few works from Henson’s Creature Shop whose puppets were not cuddly, family-friendly Muppets. Celebrate the film’s 30th with these facts straight from the goblin maze.
    1. Monty Python’s Terry Jones is credited with writing the screenplay, but it went through dozens of revisions at the hands of various script doctors, including Henson, Lucas, and comedy legend Elaine May, then on the eve of directing “Ishtar.”
    2. Among the teen actresses who auditioned for the lead role of Sarah were Helena Bonham Carter (before the filmmakers decided to make the character American), Laura Dern, Jane Krakowski, Sarah Jessica Parker, Mia Sara, Ally Sheedy, Marisa Tomei, and Maddie Corman. Eventually, the role went to Corman’s “Seven Minutes in Heaven” co-star Connelly, who Henson said won him over the moment she walked in the door, as he felt she embodied Sarah’s transition between girlhood and womanhood.
    3. Jareth was supposed to be just another puppet until Henson decided the role would work better with a charismatic rock star in the part. Among the names tossed around were Michael Jackson, Mick Jagger, Prince, and Sting, before the filmmakers set their sights on Bowie. Henson hooked the “Let’s Dance” singer by giving him a tape of “The Dark Crystal,” showing him “Dark Crystal” artist Brian Froud‘s “Labyrinth” character designs, and offering him a free hand to compose the music as he saw fit.
    4. “Labyrinth” wears its influences, which come from all over, on its sleeve. Maurice Sendak‘s children’s books are acknowledged, both in the end credits and in the book collection in Sarah’s bedroom. Jareth’s outfit is modeled in part on the leather jacket worn by Marlon Brando‘s biker gang leader in “The Wild One.”

    And the dialogue between Jareth and his minions in the “Magic Dance” sequence owes a clear debt to a similar stretch of dialogue in the classic Cary Grant-Shirley Temple movie “The Bachelor and the Bobby-Soxer.”
    5. Hoggle, Sarah’s gnome-like guide (above), was the most difficult character to animate. It took the carefully coordinated efforts of five of Henson’s crew to make him work — one performer inside the costume and four more controlling his facial movements (jaw, lips, eyelids, and eyebrows) via radio remote controls. Jim Henson’s son, Brian, worked Hoggle’s jaw and also voiced the character.
    6. The film’s choreography — in this case, acting and movement coaching for the puppeteers — is credited to Cheryl McFadden. A year later, she became famous as Star Trek: The Next Generation.”
    7. The entire forest set was built indoors, on a British soundstage. It involved 40,000 sprays of fake leaves, 850 pounds of real dried leaves, 120 truckloads of tree branches, 1,200 patches of sod, 133 bags of lichen, and 35 mossy bundles of “old man’s beard.”
    8. Shortly after Bowie’s death in January 2016, news came out that the Jim Henson company was preparing a reboot of “Labyrinth,” to be scripted by “Guardians of the Galaxy” co-screenwriter Nicole Perlman.

    She insisted that the project had been in the works since 2014, that the filmmakers were not seeking to capitalize on Bowie’s recent passing, that the film was more a “continuation” than a reboot, and that “Labyrinth” had been her favorite film as a child, one whose legacy she promised to treat with “love and respect.”9. Sarah’s kidnapped baby brother, Toby, was played by Toby Froud, infant son of the movie’s character designer, Brian Froud. Fittingly, Toby Froud grew up to be a creature designer and puppeteer for such imaginative fantasy films as “The Chronicles of Narnia: The Lion, The Witch and the Wardrobe,” “ParaNorman,” and “The Boxtrolls.”
    10. “Labyrinth” cost a reported $25 million to make but returned only $12.9 million at the North American box office. Brian Henson has said the movie’s box office failure depressed his father, but he did live long enough to see the film become a cult success on home video before his death in 1990.

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  • Cameron Crowe’s First Concert Nearly Cost Him His Life

    2016 Winter TCA Tour - Day 8As the writer-director behind romantic comedy classics like “Say Anything…,” “Singles” and “Jerry Maguire,” Cameron Crowe knows how to spin a good love story. But uniquely among filmmakers, he really understands how to make the romance between someone and the music they love come alive on screen.

    That’s why its welcome news that Crowe — who, as vividly depicted in his semi-autobiographical film “Roadies,” his new series for Showtime that delves into the lives of the music-besotted concert tour crews that make arena rock happen from city to city.

    Drawing on his deep vault of personal experiences and inside knowledge about life on the road (he was also married to Heart’s Nancy Wilson for over a quarter of a century), Crowe talks about putting his past to work, his last interaction with David Bowie, and the concert that almost ended his life.

    On getting up to speed on the current state of the tour business since his heyday on the road:

    It’s a little more mechanized. It’s a little bigger, and smaller. The middle has disappeared, like so many other ways. It’s like, big, big, big flourishes and small, small, small flourishes. I love the idea that bands do living room concerts now, and they tour living rooms. And guess what? They’re great shows. They’re great shows. So I like that and I like expressing that in the show.

    “Also, a band like [the series’] The Statehouse Band is kind of struggling to find out what the next phase is. So we’ll find out through the show — like, where do you fit now? You’ve been together for 10 plus years, where are you going to take your audience now to make yourself compelling? That’s a fun issue to get into.”

    On staying connected to his memories of joining bands on tour:

    “I kept notes on everything — I’m actually doing a collection book now. It’s so bizarre how present the memories are. Not a lot changes. I see a lot of people in the notes from the interview that we’ve done like struggling to find a way to success with integrity. Dealing with failure. Turning failure into a lesson. It’s all kind of stories that I’ve kept writing about.

    “And I still have friends that are in bands and I go out and do shows and check out stuff. I’ve stayed researching pretty consistently. And it’s present to me. It’s very present.

    “There’s all kinds of stories, and real specific ones, too, about things that happened with crews or one member deviates from the personality traits he’s had up until now. It’s like, it’s a never-ending fresh source to just go to real life. Because when you make it up, it’s never as good.”

    On the people who surround and support the bands:

    “The ambition is to make friends and family and celebrate the things that you love. I always felt like the whole sex, drugs, and rock and roll stereotype of rock-stardom was so kind of dishonest in a way. Because nobody ever picked up a guitar to get drugs. And they couldn’t play very long because that’s not going to help them write a song.

    “That stuff can happen later. But what happens first is like somebody falls in love with a song, or piece of music, and it changes you life. That’s what this whole crew has in common with the people they work for and the actors have in common too. So I like writing about that.”On the contributions of fellow executive producer (and musically talented) J.J. Abrams:

    “A lot! He also wrote some music that’s in the show somewhere — a little Easter egg! He was able to set up the original meetings and say like, “Here’s Cameron, my friend for a long time. We’ve been talking about this project for a long time.” “Here’s a story, here’s a show that I want to do as part of Bad Robot. We’ve been pitching to each other for a long time.” So that makes the meeting go pretty well.”

    On what he learned from legendary filmmaker Billy Wilder (“Some Like It Hot,” “The Apartment“) while they worked on a book together that he still uses today:

    “Let the audience put the facts together. Say ‘Two and two,’ but don’t add it up for them and they’ll love you forever. You always want to not be the guy that says, ‘It’s four! It’s four! It’s four! It’s four!’ It’s like Carla [Gugino] and Luke [Wilson‘s] relationship in the pilot: Don’t keep saying ‘Oh, they’re a work marriage. They’re not a real marriage.’ Just show it and people will get it. So that was a little lesson from Billy Wilder, for sure.”

    On why the show isn’t a continuation of “Almost Famous”:

    ”Almost Famous’ really kind of needed to be that one story, which is getting that one interview that was so hard to get. And that was kind of the thing that was defining about that time and for me. And some of the bands took me in, and some of them didn’t. But the ones that took me in created an adventure that lives and lives and lives. So I thought, let’s tell one story and that’s the story of 1973.”

    On his own legendary teenage years touring with the biggest rock acts of their day as a reporter for Rolling Stone:

    “Nobody told me that it couldn’t be done! It was only later when people would say, like, ‘Are you kidding me? You did blah blah blah?’ I’m like, ‘Yeah — is that wrong?’ ‘Yes, it’s wrong. You can’t ask Led Zeppelin to just take you on the road!’ But I did.

    “Part of it, I think, was being that age. And another part of it was a lot of the journalists in that era were guys that were from a previous era of loving a different kind of music. If you’re, like, Jethro Tull, and they send some guy that could really give a sh*t about Jethro Tull’s music, you’re going to be a little pissed about it. Like, ‘This is our shot as Rolling Stone and he’s this guy that really is like holding it against me that I’m not Miles Davis? Wait, here’s a 16-year-old kid that knows every chord that I’ve played and he’s writing for Rolling Stone — I want to talk to him.’ That happened a lot.

    “So they would say like, ‘You’re really the guy? They print your stories?’ I was like, ‘Yeah. But I do have tough questions.’ It’s like, ‘It’s okay. You know the songs. Come with us.’ And that happened again, and again, and again.”

    On his last exchange with David Bowie, whom he spent six months following in 1975:

    “My last memory of David was doing liner notes for the ‘Station to Station’ expanded release that they did. He wanted me to do liner notes, and I had kept really good records of that session. So I wrote a very detailed set of liner notes about the session and how he created these songs like ‘TVC 15’ and stuff like that.

    “I asked to talk to David, and his guy said ‘He’s not doing interviews, but he really wants you to write about the session.’ I thought it was really good, but the note I got back was, ‘He’s a little disappointed. He wanted you to write more about the music and what you thought of the music.’ It was like, ‘Damn — okay, cool.’

    “So I went and I did another pass where I talked about how the music felt and what it meant to me and left everything else that was already there in. And it was better. So it was like, ‘Damn — he just did a good edit on me.’ And that was my last experience with David, but I was writing something [before he died] that I wanted him to act in. I loved him as an actor.”

    On his ultimate concert experience:

    “I would say the first one was where I got to go to a concert all by myself, and it was The Who. I didn’t have a ticket on the floor, but I snuck down on to the floor right before they came on stage and got caught in a crush to get to the stage. And I got pressed to the very front of the stage and couldn’t breathe. And then The Who came on, and they were my favorite band at the time … I didn’t know what was going to happen. I remember thinking, ‘They’re playing “My Generation” right now, and I may die.’

    “Then, I got sucked in under the crowd and spit out 50 yards away, and it was the best f*cking concert I’ve ever been to, and maybe still. It was like: ‘All the songs you want to hear; near-death experience; escaping your protective family life — Yes!’

    “Roadies” premieres Sunday, June 26th, on Showtime.

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  • Lady Gaga Will Pay Tribute to David Bowie at the Grammys

    27th Annual Producers Guild Awards - InsideNearly one month after rock and fashion icon David Bowie passed away, his loss is still reverberating across the globe. Now, a special public tribute has been planned for the late star, featuring another chameleonic performer.

    Lady Gaga will perform in honor of Bowie at the Grammy Awards, the organizers of the show said on Tuesday. Gaga is expected to perform three or four of the artist’s songs, in a performance slated to last about six or seven minutes.

    Grammys producer Ken Ehrlich revealed in an interview with The New York Times that Gaga had already been booked to perform on this year’s awards show. But after Bowie died of cancer on January 10, organizers quickly planned to pay tribute to the star, and began discussing the possibility with Gaga and her management team. The singer has long expressed her admiration for the late star, and his influence on her career and persona.

    “Over the next week, Mr. Ehrlich added, he was contacted by numerous other artists who wanted to participate — ‘some of whom might have made sense; the vast majority didn’t,’ he said — but he stuck to the idea of Lady Gaga solo,” the Times reports.

    Ehrlich also told the Times that Gaga’s performance would “be a true homage to who David was, particularly musically, but not ignoring his influence on fashion and pop culture in a broader way.” Musician Nile Rodgers, a frequent Bowie collaborator, will produce the tribute.

    We’re looking forward to Mother Monster doing Starman proud.

    The 58th annual Grammy Awards will take place on February 15 on CBS.

    [via: The New York Times]

    Photo credit: John Salangsang/AP

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