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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

Labels: Articles

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

Labels: Articles, Playmobil

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.

Source: Allure

Labels: Articles, Photos, Photoshoots

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.

Source: Variety

Labels: Articles, Glass, Split

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

Labels: Articles, Interview