Watch the latest trailer for Glass. In UK cinemas 18th January 19.
M. Night Shyamalan brings together the narratives of two of his standout originals—2000’s Unbreakable, from Touchstone Pictures, and 2016’s Split, from Universal—in one explosive, all-new comic-book thriller: Glass.
From Unbreakable, Bruce Willis returns as David Dunn as does Samuel L. Jackson as Elijah Price, known also by his pseudonym Mr. Glass. Joining from Split are James McAvoy, reprising his role as Kevin Wendell Crumb and the multiple identities who reside within, and Anya Taylor-Joy as Casey Cooke, the only captive to survive an encounter with The Beast.
Following the conclusion of Split, Glass finds Dunn pursuing Crumb’s superhuman figure of The Beast in a series of escalating encounters, while the shadowy presence of Price emerges as an orchestrator who holds secrets critical to both men.
Netflix fantasy series “Age of Resistance” will launch in 2019
Taron Egerton, Anya Taylor-Joy and Nathalie Emmanuel are set to lead the voice cast for “The Dark Crystal: Age of Resistance,” the 10-episode animated fantasy series that’s a prequel to Jim Henson’s 1982 fantasy film.
Egerton, Taylor-Joy and Emmanuel will play the three Gelfing heroes, Rian, Brea and Deet. Netflix additionally announced Monday the cast voicing of other puppet characters in a staggering list that includes: Caitriona Balfe, Helena Bonham-Carter, Harris Dickinson, Natalie Dormer, Eddie Izzard, Theo James, Toby Jones, Shazad Latif, Gugu Mbatha-Raw, Mark Strong, Alicia Vikander, Harvey Fierstein, Mark Hamill, Ralph Ineson, Jason Isaacs, Keegan-Michael Jey, ?”lafur Darri ?”lafsson, Simon Pegg, Andy Samberg and Donna Kimball.
Additional characters will also be voiced by puppeteers from the production, including Alice Dinnean, Louise Gold, Neil Sterenberg and Victor Yerrid, with more to be announced soon.
Based on “The Dark Crystal,” the series “Age of Resistance” is set many years before the events of the movie but still utilizes classic puppetry techniques along with the Jim Henson Company.
The world of Thra is dying. The Crystal of Truth is at the heart of Thra, a source of untold power. But it is damaged, corrupted by the evil Skeksis, and a sickness spreads across the land. When three Gelfling uncover the horrific truth behind the power of the Skeksis, an adventure unfolds as the fires of rebellion are lit and an epic battle for the planet begins.
“It is humbling to see so many truly gifted actors join The Dark Crystal universe by adding their voices to Age of Resistance. As with the original film, we are now adding a voice cast of the highest caliber that will provide textures and range to the puppetry performances that are the heart of the series,” Lisa Henson, CEO of the Jim Henson Company said in a statement.
“It is thrilling to see this assembled team of artists, puppeteers and now voice actors, many inspired by my father’s original film, work together to realize this unique world – through performance and craft – at a scale that is rarely seen today,” she added.
“The Dark Crystal: Age of Resistance” will launch on Netflix in 2019.
Source: The Wrap
Here’s a fun first teaser trailer for family animation movie Playmobil: The Movie, featuring the voices of Anya Taylor-Joy, Jim Gaffigan, Gabriel Bateman, Adam Lambert, Kenan Thompson, Meghan Trainor and Daniel Radcliffe. Trainor and Lambert are also singing original songs for the film.
The animation-live action hybrid movie, based on the popular kids toy line, is due out next year. The film will follow the adventures of siblings Charlie (Bateman) and Marla (Taylor-Joy). When the former unexpectedly disappears into the animated universe of Playmobil, Marla must go on a quest to bring him home. During her adventures she teams up with some unlikely new friends, including smooth-talking food truck driver Del (Gaffigan), dashing and charismatic secret agent Rex Dasher (Radcliffe), a wholehearted misfit robot and an extravagant fairy-godmother (Trainor). Lambert will voice the character of villain Emperor Maximus.
Director and story creator is Disney veteran Lino DiSalvo, who served as head of animation on Frozen and was animation supervisor on Tangled and Bolt. Script is from Blaise Hemingway, Greg Erb and Jason Oremland and head of animation is Julien Bocabeille, animator on The Boss Baby and Kung Fu Panda 3. Producers are Aton Soumache, Dimitri Rassam, Emmanuel Jacomet, Alexis Vonarb and Oliver Stone regular Moritz Borman. The same producers all previously worked on animated pic The Little Prince.
Lionsgate handles world sales. A number of deals have already closed including to Studiocanal in the UK, Tele München Group in Germany and DMG Entertainment in China. Pathe will release in France.
Source: Deadline Hollywood
The Witch and Split‘s Anya Taylor-Joy has joined the cast of Peaky Blinders‘ fifth season. BBC One, where the Steven Knight-created epic crime saga is moving after spending its first four go-rounds on BBC Two, tweeted the news today, welcoming Taylor-Joy to Birmingham. There’s no word yet on just what her role will be, but the actress tells Deadline, “I could not possibly be more excited to be joining such a talented group of people. I can’t wait to get in and play this character.”
The BBC released a first-look photo of Taylor-Joy, taken by Season 5 director Anthony Byrne on the set of the drama that’s currently filming in Manchester (check it out below). Further cast is expected to be added to the 2018 laureate of the Best TV Drama BAFTA Award.
Deadline recently reported that Season 5 will see Cillian Murphy’s Tommy Shelby face his darkest force yet. As the world is thrown into turmoil by the financial crash of 1929, opportunity and misfortune are everywhere. When Tommy, who’s now an MP, is approached by a charismatic politician with a bold vision for Britain, he realizes that his response will affect not just his family’s future but that of the entire nation.
Helen McCrory and Paul Anderson are also back for Season 5 as are Sophie Rundle, Finn Cole, Kate Phillips, Natasha O’Keefe, Aidan Gillen, Jack Rowan, Charlie Murphy, Kingsley Ben-Adir, Harry Kirton, Packy Lee, Ned Dennehy, Ian Peck and Benjamin Zephaniah.
Taylor-Joy was recently seen in BBC/Masterpiece mini The Miniaturist and her upcoming feature projects include M Night Shyamalan’s Glass and X-Men film The New Mutants. She’s repped by CAA, Troika, and Felker Toczek.
Peaky Blinders is written by Knight and produced by Caryn Mandabach Productions and Tiger Aspect Drama. Season 5 will air next year.
Source: Deadline Hollywood
Quick question that Anya Taylor-Joy and I are dying to know the answer to: Who, in their perverted wisdom, was the first person to wear red lipstick? Which God-fearing person thought, You know what would be cool? If we painted our mouths bright red — really dialed up the pigment 5,000 percent so that you could see our lips from a great distance!
Cursory Internet searches tell me that it could have been the ancient Sumerians, or the Egyptians, or the Romans, but none of this is satisfying enough. Was it for glamour? Intrigue? Sex? A really good going-out look?
“Dude, I think about that stuff all the time!” Taylor-Joy says breathlessly. We are just wrapping up our interview when we stumble upon the topic we both want to talk about forever. “The ‘first people’ question gets me. Who was the first person to decide that pasta would be fun if it was tubular? And coated in butter? That person’s a genius. Who cut up an avocado and was like, I’m going to eat this green stuff on the inside?”
I wonder aloud: Who decided eyelids should be blue? She laughs. “I think we should bring blue eye shadow back.” She is kidding — and the beauty director of this magazine later informs me that it is already back, so her point is actually moot.
But Taylor-Joy suggests it in a kind of conspiratorial way that is partly whimsical and partly illicit, and in that moment I think, Absolutely, let’s do this new thing you just thought of. This is a woman who only started acting in movies four years ago (at age 18), whose second film was a critical hit (The Witch), whose fifth was a financial success and a critical hit (M. Night Shyamalan’s Split), and whose Marvel movie debuts next year (it’s X-Men, The New Mutants, and she gets top billing). That last one just might catapult her into the celebrity stratosphere, which is both exhilarating and anxiety-inducing for her. Now, in the period before her star crystallizes, she can do anything she wants.
Universal impressed the nation’s exhibitors Wednesday with the first footage of M. Night Shyamalan’s thriller “Glass,” starring Samuel L. Jackson, Bruce Willis, James McAvoy and Sarah Paulson.
Shyamalan told the audience at CinemaCon at Caesars Palace in Las Vegas that “Glass” is the “first truly grounded comic book movie.”
Jackson added, “It’s about time I got the title role in my own motherf—ing movie.”
All four stars appeared on the stage, and the footage set up Paulson as a psychologist dealing with the three other characters, who she notes all believe that they are superheroes. What followed was a series of scenes with the characters interacting with each other — with Willis’ character attempting to stop an apocalyptic outcome.
“Glass” brings together the narratives of Shyamalan’s “Unbreakable,” which was released in 2000 through Disney, and last year’s “Split,” from Universal. Shyamalan is self-financing. Universal, Blumhouse and Shyamalan first unveiled plans for “Glass” last year.
From “Unbreakable,” Willis returns as David Dunn and Jackson is back as Elijah Price, best known by his pseudonym Mr. Glass. Joining from “Split” are McAvoy, reprising his role as Kevin Wendell Crumb and the multiple identities who reside within, and Anya Taylor-Joy, the only captive to survive an encounter with McAvoy’s the Beast.
Universal will handle domestic distribution, while Buena Vista International is on board for international territories. “Glass” opens domestically on Jan. 18.
When Anya Taylor-Joy first read the script for Thoroughbreds, she knew she had to play the lead role of Lily in the film written and directed by Corey Finley. “I heard Lily so, so clearly,” Taylor-Joy says. “It was clear Corey and I wanted to make the same movie.” Shot in a Massachusetts suburb in just 22 days, the comedic thriller follows Lily, a straight-A student who reconnects with her childhood friend Amanda (Olivia Cooke) when her mother hires Lily to tutor her. “They have this toxic, bizarre female friendship,” Joy says of the characters, who start plotting the death of Lily’s overly harsh stepfather. The film also stars the late Anton Yelchin, who, in his final performance, plays a drug dealer in his late 20s. Here, Taylor-Joy talks about her offscreen chemistry with her costars, and how she prepped for her darkest role yet.
How did you end up signing on for this role?
It was the first script where I immediately called my agent and was like, “How do I meet [the director]?” I was desperate to be part of the project. I knew Olivia was attached, but I didn’t know to which character. I only had eyes for Lily. After that, Corey and I met up for coffee and really vibed, and it came together really quickly. A day after I finished Barry, I started shooting Thoroughbreds.
What about Lily spoke to you immediately?
I think I’m very instinctive about my characters. When I hear their voice, or when I feel I belong to them or they belong to me, it’s a kind of a tangible feeling. From a performance point of view, I was very intrigued by the idea of having to work from the outside in, rather than the inside out. When you first meet Lily, she is this very pristine, porcelain individual who is presenting a front to the world. She is trying to achieve this Instagram-level of perfection that isn’t real. So I was really intrigued by the idea of presenting people with this very well put together facade, but as the movie went on, stripping away the moral insulation levels and seeing the messy, chaotic, raging person beneath.
Does Instagram-level perfection annoy you?
Instagram in its best light is a fun way of keeping up with your friends and expressing yourself. In a negative way, it’s presenting the best version of yourself at all times that only needs to exist within a 30-second clip or image. So it doesn’t show you a real person who has ups and downs. Especially in regard to Lily—she’s so angry she can’t achieve that. She can’t be as perfect as these images. It breeds a really horrible sense of insecurity that can drive her to do some pretty dark things and harbor dark feelings within.
Have you ever played a character as dark as her before?
No, most of my characters, despite having a lot going on underneath, have been reacting to external circumstances. While I think Lily, not only is she a product of this Instagram society and extreme wealth, she’s just reacting to her darker urges and how the urges are manifesting. And having that kernel of evil within you, growing, festering, it was something I was intrigued by as a performer. My characters are real people for me, so as we were shooting the movie I was defending Lily the whole time. When crew members were like, “God, she’s such a bitch,” I’d be like, “No! You have no idea where she’s coming from, you don’t understand. She’s completely justified.” It was only after filming finished and I started leaving her behind that I realized I’d been inhabiting a very toxic skin for a month.
In what ways did you inhabit her? Did you start making Lily-like choices on set and in real life?
I’m so glad I’m not a method actor, but even so, I firmly subscribe to the idea that while I’m still always Anya, I’m living with Lily for that month. Certain personality traits will come through. With every character I play, it’s like having a different roommate for a time, I adapt to allow her to fit inside myself. For Lily, that meant that for my friends and family I dropped off the face of the earth because Lily does not have a support network. To be able to inhabit that skin every day, I felt like I couldn’t have my own support group taking care of me. I didn’t want people to see me when I was “with” Lily.
It’s like if you come home and your best friend is crying on the couch, and they’re not your feelings, but your heart is breaking because you’re seeing someone you love in pain. That’s where I approach it from, character-wise. I guess it’s not quite a stable way to live [Laughs]. I feel for my characters. By the end of the movie, I’m scared of Lily. My imagination has always been overactive, so I’m happy there’s a job where that’s actually useful.
Was that very intense for you?
It was so fast and intense, and it mostly takes place in that one house. During filming we lived three minutes away from it, so the shooting experience mirrored the intensity of what these two young women were going through. The two of them have been estranged for a while. Then they become obsessed with each other in a short intense period of time, and we shot it in a short period of time, so that added something to it. But Liv and I had to treat each other really kindly on set, because Amanda and Lily have such a bizarre toxic, obsessive, almost tender relationship. We had to be very kind to each other and respect each other’s processes. I don’t think we could have survived the movie if we were Lily and Amanda the whole time.
Did you know Olivia before working with her?
Even though we hadn’t physically met each other, we were both at Sundance the same year. We were peripherally aware of each other, so it made it all the more special to be able to return to Sundance together for this film. I’ve been lucky to have incredible chemistry with a lot of actors, but with Olivia it was something on a different level, it was almost like we were completely physically, mentally, and emotionally aware of each other at all times from the first time we met. I would tuck my hair behind my left ear, and she would be doing the exact same thing. By the end of the first shooting day we became symbiotic, almost. It was this bizarre energy. We were always coiled around each other. Two years later it hasn’t really gone away, we still move in tandem. I believe things happen for a reason, and I think there was a reason it was Olivia and I who did this film together.
Is there any special memory from set that you two share?
We were shooting a scene in the wine cellar together very late at night, and at around 2 a.m., for some inexplicable reason, the door to the cellar locked and we couldn’t open it or continue doing the scene. So eventually we had to wake up the one locksmith, at 4 o’clock in the morning, to come and open the door so we could finish the scene. That was an intense moment. Another thing is there is this swing set behind the house. When things were getting emotionally difficult, I would just go out and swing. There was one time when I was dressed in all white, and it was really dark, I was swinging and Olivia thought I was a ghost. She was standing there scared, and I totally f—ed with her for a while.
What was it like working with Anton?
What I keep saying is that it’s difficult to talk about him as a person because he’s my friend and I miss him and it’s hard. Going on a press tour and having strangers talk about someone you love so much is a difficult thing to experience. But what’s been beautiful about this experience is that it’s not difficult to talk about him as a performer because he is so incredible. He has an ability to pick weird, quirky characters and imbue them with so much heart that you’re rooting for them. He has a truly beautiful soul. It’s been incredible to tour this movie around the country and see how unanimously loved and missed he is. In this film he took a character who, on the page, could have been quite a minor character in the hands of a lesser actor. And instead, Anton’s character is arguably the moral compass of our movie. He’s playing an older man who has had sexual relations with girls who were too young, so the fact that he manages to get you to root for him and think he is the best person in the movie… it’s all him, man. The movie is wonderful, I think he would be proud.
On such a quick shoot with loaded days, how would you guys unwind after set each day?
The cast and crew did a lot of karaoke in Cohasset. Despite the fact that it is so charged, Corey made an interesting point: Apparently on comedy sets people are more brisk with one another because the subject matter is light, but with darker films people are more gentle and kind to one another because you’re going to dark places and are emotionally vulnerable. So it was being cognizant of the fact that we were touching very dark subject matter, and everyone wanted to take care of one another. I’m Latin, I like hugs, so with every movie I’ve ever done, I start off giving hugs to everyone. Indefinite hugs.
Source: W Magazine
The actress, who last year took home the Chopard trophy for acting at Cannes, stars in “Thoroughbreds” alongside Olivia Cooke and Anton Yelchin.
“I’m very much a people person,” begins British actress Anya Taylor-Joy, upbeat and immediately chatty over the phone from Los Angeles. “I really trust my instincts when I meet somebody, and the second I met Cory, I just adored him.”
That would be Cory Finley, the director of “Thoroughbreds,” in which Taylor-Joy stars alongside Olivia Cooke. The dark comedy-thriller premiered at Sundance in 2017, and on Friday had its limited release. The film, Finley’s feature directorial debut, has garnered rave reviews for its stars’ performances of two misguided upper-class teens in Connecticut who hatch a murder plot.
“It was so witty and sharp, and superdeliciously dark and nasty,” Taylor-Joy says of the script, which she read while filming the Barack Obama biopic “Barry” in New York in 2016. “And the fact that it was between these two women that were just continuously circling each other and manipulating each other through dialogue, I just thought it’d be really fun to play.”
A day after wrapping “Barry,” she was in Massachusetts filming “Thoroughbreds.” She spent two days with Cooke hashing out their characters’ back stories, which helped to build their chemistry on-screen.
“The dialogue is so unrelenting and Olivia and I are so on top of each other with it — it’s very quick-paced — that by the end of that first day we were just so physically and emotionally aware of one other, and we became quite symbiotic actually, and it’s something that hasn’t gone away,” she says. “We still have this thing where when she moves, I move. I step with my left foot forward, she does the exact same thing at the same time. And I wonder if it will ever go away, but it definitely worked for the movie.”
Taylor-Joy describes their characters as “toxic.” In one scene, Cooke’s character shows Taylor-Joy’s her method for crying on demand, a manipulation tactic.
“Olivia and I both tried it, I don’t think it’s an actual thing, I think you just sort of have a panic attack because you’re not really breathing, so rather than having tears come out of your eyes you’re just like, ‘I’m going to die,’” says Taylor-Joy. “That scene actually comes from when Cory was acting in college. He had a couple of friends who used to boast that they could cry on cue, and this is how they did it — but I don’t think there’s much truth in it.”
While the two girls are the stars, the movie also features Anton Yelchin in a supporting role, his last prior to his unexpected death in summer of 2016. The film is dedicated in his honor.
“It’s very difficult to talk about him as a person, because he’s my friend and I deeply miss him,” says Taylor-Joy. “But from a professional point of view, I can say that he was unrivaled in his ability to bring so much energy and enthusiasm. He’s just such a lover of film, so the second he got on set we all just fell in love with him, both as a person but also we’re in awe of him as a performer. And he took a character that when I first saw the script, Tim [Yelchin’s character] in the hands of a lesser actor could have been far more of a minor character, but…[Yelchin] has an incredible ability to imbue his weird, sort of strange characters, with a lot of heart.”
Taylor-Joy, who broke onto the scene with her lead role in A24’s horror film “The Witch” and M. Night Shyamalan’s “Split” last year, won the Chopard Trophy award for promising young actors at the Cannes Film Festival in 2017. This year promises to be just as eventful: she has five films coming out between now and the beginning of 2019.
“Dude, I know, it’s crazy to think about,” she says. She’s also filming period film “Radioactive” with Rosamund Pike, and is slated to star in Kristin Scott Thomas’ directorial debut, “The Sea Change.”
“I’m very instinct-character-driven,” Taylor-Joy adds of her choice of projects. “I’ve never made the decision to go for genre, or films that are darker — it just so happens that the worlds these women that have called to me have inhabited are dark worlds. I just follow my characters wherever they decide,” she adds. “And do they inhabit a world I’m interested in exploring, and then how awesome is the director? If he said jump, would I? That kind of feeling.”
On the heels of this morning’s news that Gore Verbinski has dropped out of directing Fox’s long-developed Gambit movie, the studio has revealed a new slate of release date shakeups, giving Gambit, Untitled Deadpool Sequel, and The New Mutants new release dates.
Good news first, Untitled Deadpool Sequel has been bumped up by two weeks and will now land in theaters on May 18, 2018 instead of June 1. Ryan Reynolds will return as the foul-mouthed vigilante alongside Brianna Hildebrand as Negasonic Teenage Warhead, Morena Baccarin as Vanessa, and (cringe) T.J. Miller as Weasel and newcomers Josh Brolin as Cable and Zazie Beets as Domino. The new release date puts Deadpool 2 a week ahead of the Star Wars box office domination that’s sure to come with Solo: A Star Wars story, a smart move considering the Star Wars films have proven to have long legs. Deadpool will now return to theaters up against Sony’s horror pic Slender Man.
Now the bad news. Josh Boone‘s horror-tinged take on The New Mutants is getting a major bump back on the schedule and will now land in theaters 10 months later than originally scheduled. The film moves from April 13, 2018 to February 22, 2019. Anya Taylor-Joy, Maisie Williams and Charlie Heaton star in the YA X-Men spinoff about a group of diverse teenage mutants kept in a research facility against their will. The shift prevents Fox from having two superhero films in theaters at the same time overseas, but the significant bump suggests that there are larger factors at play, either because the film needs more work before it’s ready for audiences or possibly due to strategy or fallout surrounding the Disney-Fox deal. Per The Tracking Board, the film tested OK, but the studio wants to rework it to be scarier in the wake of last year’s landmark year for horror.
Finally, there’s the Gambit movie, which has seen a tortured pre-production process, losing directors Doug Liman (American Made) and Rupert Wyatt (War for the Planet of The Apes), and as of this morning, Gore Verbinski (Pirates of the Caribbean). The Channing Tatum vehicle has been pushed from the recently set February 14, 2019 to a summer slot on June 7, 2019. Per The Hollywood Reporter, the film has a “heavy comedic tone as it revolves around a heist” and the thinking is that it’ll do better as a summer Marvel movie.
X-Men: Dark Phoenix is still slated to hit theaters on November 2, 2018.
For more of the latest of Fox’s growing X-Men verse, check out our recent coverage in the links below.