Chris Sanders is in final negotiations to voice the character of Stitch in Disney’s live-action Lilo & Stitch, The Hollywood Reporter has learned.
Tia Carrere, who originally voiced Nani in the first film, will also play the newly-created Mrs. Kekoa, while Amy Hill will star as a new character named Tūtū.
Sanders, who wrote and directed the original feature alongside Dean DeBlois, voiced the creature, which he also created, in the 2002 Lilo & Stitch, as well as Lilo & Stitch: The Series (2003-2006). Sanders has been rumored to return as Stitch for years, but in a 2022 interview with Syfy Wire, he said he hadn’t been officially approached by the studio.
Newcomer Maia Kealoha is playing Lilo, while Sydney Elizebeth Agudong is playing Nani. Kahiau Machado was cast as David Kawena last week, but has since been recast with Kaipot Dudoit. During Disney’s vetting process, previous posts in which...
Tia Carrere, who originally voiced Nani in the first film, will also play the newly-created Mrs. Kekoa, while Amy Hill will star as a new character named Tūtū.
Sanders, who wrote and directed the original feature alongside Dean DeBlois, voiced the creature, which he also created, in the 2002 Lilo & Stitch, as well as Lilo & Stitch: The Series (2003-2006). Sanders has been rumored to return as Stitch for years, but in a 2022 interview with Syfy Wire, he said he hadn’t been officially approached by the studio.
Newcomer Maia Kealoha is playing Lilo, while Sydney Elizebeth Agudong is playing Nani. Kahiau Machado was cast as David Kawena last week, but has since been recast with Kaipot Dudoit. During Disney’s vetting process, previous posts in which...
- 4/21/2023
- by Beatrice Verhoeven
- The Hollywood Reporter - Movie News
Exclusive: Deadline has learned that Tony Tost’s feature directorial debut Americana, from Bron Studios/Saks Picture Company is making its world premiere at SXSW on March 17 at the Paramount Theatre in the festival’s Narrative Spotlight section.
Formerly known as National Anthem, the pic stars Sydney Sweeney, Paul Walter Hauser, Halsey, Eric Dane, Zahn McClarnon, Gavin Maddox Bergman, Simon Rex, Derek Hinkey, Toby Huss and Harriet Sansom Harris. In the pic, unlikely heroes and villains must navigate a complex playing field in pursuit of a legendary Native American artifact with ties to the complicated history of the American West in this elevated, darkly comedic crime thriller.
The movie also marks multi-platinum, chart-topping singer-songwriter Halsey’s first on-screen role. The award-winning, Grammy-nominated recording artist has amassed more than 50 billion streams worldwide, and over 75 million RIAA-certified singles and albums sold.
Bron and WME Independent are repping worldwide sales for the acquisition title.
Formerly known as National Anthem, the pic stars Sydney Sweeney, Paul Walter Hauser, Halsey, Eric Dane, Zahn McClarnon, Gavin Maddox Bergman, Simon Rex, Derek Hinkey, Toby Huss and Harriet Sansom Harris. In the pic, unlikely heroes and villains must navigate a complex playing field in pursuit of a legendary Native American artifact with ties to the complicated history of the American West in this elevated, darkly comedic crime thriller.
The movie also marks multi-platinum, chart-topping singer-songwriter Halsey’s first on-screen role. The award-winning, Grammy-nominated recording artist has amassed more than 50 billion streams worldwide, and over 75 million RIAA-certified singles and albums sold.
Bron and WME Independent are repping worldwide sales for the acquisition title.
- 2/24/2023
- by Anthony D'Alessandro
- Deadline Film + TV
“The Unbearable Weight of Massive Talent” was already the most meta movie released this year, but one scene cut from the theatrical release took the concept much further. In director Tom Gormican’s comedy, star Nicolas Cage plays a fictionalized version of himself wrestling with a rough patch in his career, while being badgered by the imaginary “Nicky,” an abrasive manifestation of Cage’s younger self who mocks the actor for failing to achieve the greatness of his early days. In the original cut of the movie, Cage finally confronts his inner self in an ambitious black-and-white homage to “The Cabinet of Dr. Caligari.”
Cage has often cited the 1920 German Expressionist film as one of his favorites, and the opportunity to pay homage to its dream-like imagery was such a highlight of the experience that he continued to talk it up for the movie’s release, even though it didn’t make the final cut.
Cage has often cited the 1920 German Expressionist film as one of his favorites, and the opportunity to pay homage to its dream-like imagery was such a highlight of the experience that he continued to talk it up for the movie’s release, even though it didn’t make the final cut.
- 6/21/2022
- by Eric Kohn
- Indiewire
One of New Zealand cinematographer Nigel Bluck’s first breaks as a young Dp came shooting 2nd unit on the original Lord of the Rings trilogy. He had one feature film under his belt and little visual effects experience, but Bluck learned on the job and persevered through nine months of bluescreen-draped soundstage work. Two decades later, the now-seasoned Bluck faced another new challenge with The Unbearable Weight of Massive Talent. “I’m not a comedy guy, normally,” said Bluck. “This is the warmest and funniest movie I’ve ever shot.” It’s definitely the Nicolas Cage-iest movie anyone has ever shot. The Oscar winner plays […]
The post “Contrast is the Toughest Thing to Shift”: Dp Nigel Bluck on the Two Nicolas Cages of The Unbearable Weight of Massive Talent first appeared on Filmmaker Magazine.
The post “Contrast is the Toughest Thing to Shift”: Dp Nigel Bluck on the Two Nicolas Cages of The Unbearable Weight of Massive Talent first appeared on Filmmaker Magazine.
- 5/13/2022
- by Matt Mulcahey
- Filmmaker Magazine - Blog
One of New Zealand cinematographer Nigel Bluck’s first breaks as a young Dp came shooting 2nd unit on the original Lord of the Rings trilogy. He had one feature film under his belt and little visual effects experience, but Bluck learned on the job and persevered through nine months of bluescreen-draped soundstage work. Two decades later, the now-seasoned Bluck faced another new challenge with The Unbearable Weight of Massive Talent. “I’m not a comedy guy, normally,” said Bluck. “This is the warmest and funniest movie I’ve ever shot.” It’s definitely the Nicolas Cage-iest movie anyone has ever shot. The Oscar winner plays […]
The post “Contrast is the Toughest Thing to Shift”: Dp Nigel Bluck on the Two Nicolas Cages of The Unbearable Weight of Massive Talent first appeared on Filmmaker Magazine.
The post “Contrast is the Toughest Thing to Shift”: Dp Nigel Bluck on the Two Nicolas Cages of The Unbearable Weight of Massive Talent first appeared on Filmmaker Magazine.
- 5/13/2022
- by Matt Mulcahey
- Filmmaker Magazine-Director Interviews
Amy Williams is an Us-based production designer. She has left her creative fingerprint on several TV series such as „Master of None“ (2015) or lately „Little America“. Among the feature dramas she worked on is „Love Is Strange“ (2014) by Ira Sachs and now the actual new release on Netflix “Tigertail” by Alan Yang.
On this occasion we speak with Amy Williams, who told us more about the challenges of the production and her experiences with the Taiwanese culture.
It’s not the first time you work with director Alan Yang. Could you tell us more about your collaboration and how the work on “Tigertail” began?
I met Alan Yang in 2014 when I interviewed for the Netflix series, “Master Of None”, that he and Aziz Ansari created. “Master of None” was a beautiful experience for all of us working on the show. Alan and I share a love of basketball and dining,...
On this occasion we speak with Amy Williams, who told us more about the challenges of the production and her experiences with the Taiwanese culture.
It’s not the first time you work with director Alan Yang. Could you tell us more about your collaboration and how the work on “Tigertail” began?
I met Alan Yang in 2014 when I interviewed for the Netflix series, “Master Of None”, that he and Aziz Ansari created. “Master of None” was a beautiful experience for all of us working on the show. Alan and I share a love of basketball and dining,...
- 5/17/2020
- by Teresa Vena
- AsianMoviePulse
The outbreak of the Covid-19 pandemic has, at least temporarily, disrupted the film distribution channels and shifted the focus from the usual ways directly to internet. It works for now for the world-wide audiences, since there is a list of films that already had their festival premieres earlier this year (or in the later stages of the last year) and the completed films to be released. For filmmakers, producers and production companies, the glass could be half-full or half-empty (taking some not so good deals with streaming giants). How it looks like in the case of Alan Yang’s directorial debut “Tigertail” that premiered earlier this month on Netflix?
As a writer and a producer, Yang comes from television background, best known for his credits on the series like “Parks and Recreation” and “Master of None”, so, theoretically, he should not be bothered too much with the fact that his...
As a writer and a producer, Yang comes from television background, best known for his credits on the series like “Parks and Recreation” and “Master of None”, so, theoretically, he should not be bothered too much with the fact that his...
- 4/28/2020
- by Marko Stojiljković
- AsianMoviePulse
Once upon a time, a young man wanted to come to America. He’d grown up in the rural countryside of Taiwan with his grandmother, occasionally having to hide in cupboards from communist Chinese soldiers looking for unregistered citizens. The boy was lonely, except for a girl he met in the fields. His name was Pin-Jui, and her name was Yuan. Later, as a teen, his mother brought him to live with her (his father had long since passed away) and work beside him in a factory in the city.
- 4/10/2020
- by David Fear
- Rollingstone.com
Anyone watching “Tigertail” because of writer-director Alan Yang’s role in creating “Master of None” may be surprised to find that there’s nothing funny about it. With time, however, “Tigertail” develops a case for its modest aims. A slow-burn immigrant drama with visual polish to spare, the movie molds the leisurely plot into a lush, moving portrait of American dreams undercut by harsh reality checks. Yang infuses his earnest, semi-fictionalized story (inspired by his own father’s experiences) with the evocative narrative traditions of modern Asian cinema, from Wong Kar Wai to Edward Yang, resulting in a rich and intimate atmosphere at every turn. While the movie doesn’t achieve the narrative mastery of its influences,
At its center is a familiar journey. Growing up in ‘60s-era Taiwan, young factory worker Ping-Juri endures the frustrations of an arranged marriage, his demanding mother, and his mounting desire to find success in America.
At its center is a familiar journey. Growing up in ‘60s-era Taiwan, young factory worker Ping-Juri endures the frustrations of an arranged marriage, his demanding mother, and his mounting desire to find success in America.
- 4/10/2020
- by Eric Kohn
- Indiewire
Borrowing the off-the-grid Southern landscapes of “The Adventures of Huckleberry Finn” and adding the energetic, spirited Zack Gottsagen — supported by a very engaging Shia Labeouf and Dakota Johnson — “The Peanut Butter Falcon” is charming, enveloping, and an absolute joy.
Zak (first-timer Gottsagen) is a 22-year-old with Down syndrome; after being abandoned by his relatives, he lives in a nursing home because the state has no other facilities that would supply the care he needs. Looked after by administrator Eleanor (Johnson) and several of the other residents, Zak watches old wrestling videos of his idol, “The Saltwater Redneck” (Thomas Haden Church), and dreams of escaping the home to attend the Redneck’s wrestling school.
One night, with the help of his roommate, who believes Zak should be out experiencing life, Zak escapes wearing only his tighty-whities. Determined, he runs through most of the night, finally finding a moment to rest on a small boat,...
Zak (first-timer Gottsagen) is a 22-year-old with Down syndrome; after being abandoned by his relatives, he lives in a nursing home because the state has no other facilities that would supply the care he needs. Looked after by administrator Eleanor (Johnson) and several of the other residents, Zak watches old wrestling videos of his idol, “The Saltwater Redneck” (Thomas Haden Church), and dreams of escaping the home to attend the Redneck’s wrestling school.
One night, with the help of his roommate, who believes Zak should be out experiencing life, Zak escapes wearing only his tighty-whities. Determined, he runs through most of the night, finally finding a moment to rest on a small boat,...
- 8/9/2019
- by Yolanda Machado
- The Wrap
Nothing feels better than when a film wins you over, fully and truly. The Peanut Butter Falcon is all heart and inspires joy within you from start to finish. Flying under the radar, this adventure story is one of the year’s absolute gems, in a way that nothing else can fully touch. There’s simply no other movie like this one out in the world. There’s magic in this picture, engrained in its very core. You won’t even be able to put your finger on it until the end. It’s simply a feeling that wells up within you as the plot moves forward. Kudos to all involved for crafting something so tremendous. Presented as a modern day Mark Twain tale, the movie tells the story of Zak (Zack Gottsagen), a 22 year old man with Down syndrome who has the dream of becoming a professional wrestler. Stuck...
- 8/7/2019
- by Joey Magidson
- Hollywoodnews.com
Shia Labeouf, Zack Gottsagen and Dakota Johnson star in The Peanut Butter Falcon.
A modern Mark Twain style adventure story, The Peanut Butter Falcon tells the story of Zak (Gottsagen), a young man with Down syndrome, who runs away from a residential nursing home to follow his dream of attending the professional wrestling school of his idol, The Salt Water Redneck (Thomas Haden Church).
A strange turn of events pairs him on the road with Tyler (Labeouf), a small time outlaw on the run, who becomes Zak’s unlikely coach and ally. Together they wind through deltas, elude capture, drink whisky, find God, catch fish, and convince Eleanor (Johnson), a kind nursing home employee charged with Zak’s return, to join them on their journey.
Dakota Johnson in The Peanut Butter Falcon
Photo Credit: Nigel Bluck / Courtesy of Roadside Attractions and Armory Films
D
The film is an inspiring and...
A modern Mark Twain style adventure story, The Peanut Butter Falcon tells the story of Zak (Gottsagen), a young man with Down syndrome, who runs away from a residential nursing home to follow his dream of attending the professional wrestling school of his idol, The Salt Water Redneck (Thomas Haden Church).
A strange turn of events pairs him on the road with Tyler (Labeouf), a small time outlaw on the run, who becomes Zak’s unlikely coach and ally. Together they wind through deltas, elude capture, drink whisky, find God, catch fish, and convince Eleanor (Johnson), a kind nursing home employee charged with Zak’s return, to join them on their journey.
Dakota Johnson in The Peanut Butter Falcon
Photo Credit: Nigel Bluck / Courtesy of Roadside Attractions and Armory Films
D
The film is an inspiring and...
- 7/19/2019
- by Movie Geeks
- WeAreMovieGeeks.com
The line where art meets commerce has always been a grey one . even when it is reliant on the public purse. The issue flared in 2011 when government proposals took aim at the regulations which limit foreign actors working on local productions. And it flared again last year when, for the first time, a number of local films employed foreign cinematographers.
The appointments created a ripple of unease among local cinematographers who are regularly lauded as being amongst the world.s best. Of the seven Australians who have won Academy Awards for their work behind the camera, five are still active in the industry: Dean Semler, John Seale, Andrew Lesnie, Russell Boyd and Dion Beebe. A new breed are also making the leap into high-end features such as Ross Emery (The Wolverine), Simon Duggan (The Great Gatsby) and Jules O.Loughlin (Sanctum), just to name a few.
So it came as...
The appointments created a ripple of unease among local cinematographers who are regularly lauded as being amongst the world.s best. Of the seven Australians who have won Academy Awards for their work behind the camera, five are still active in the industry: Dean Semler, John Seale, Andrew Lesnie, Russell Boyd and Dion Beebe. A new breed are also making the leap into high-end features such as Ross Emery (The Wolverine), Simon Duggan (The Great Gatsby) and Jules O.Loughlin (Sanctum), just to name a few.
So it came as...
- 5/28/2013
- by Brendan Swift
- IF.com.au
The Tree
Directed by Julie Bertucelli
Written Julie Bertucelli
France / Australia – 2010
The Tree, which closed the 2010 Cannes Film Festival, is almost certainly something of a UFO in the familiar, often formulaic landscape of much contemporary French cinema. Not only is Julie Bertucelli’s second feature set in far-flung Australia (her first film, Since Otar Left, largely took place in out-of-the-cinematic-way Georgia), it also escapes the oftentimes staid genre pigeonholing that characterises a lot of French production. All the more commendable, then, that despite its ‘randomness’ and inauspicious odds, this French-Australian female-dominated coproduction did make it to Cannes.
Based on “Our Father Who Art in the Tree.” a novel by Australian Julie Pascoe, The Tree stars French cinema staple Charlotte Gainsbourg and 8-year old Aussie newcomer Morgana Davies, as mother-of-four widow Dawn and her cherubic, whimsical daughter Simone. After the sudden death of Peter, Dawn’s stereotypically handsome, tanned truck-driver husband,...
Directed by Julie Bertucelli
Written Julie Bertucelli
France / Australia – 2010
The Tree, which closed the 2010 Cannes Film Festival, is almost certainly something of a UFO in the familiar, often formulaic landscape of much contemporary French cinema. Not only is Julie Bertucelli’s second feature set in far-flung Australia (her first film, Since Otar Left, largely took place in out-of-the-cinematic-way Georgia), it also escapes the oftentimes staid genre pigeonholing that characterises a lot of French production. All the more commendable, then, that despite its ‘randomness’ and inauspicious odds, this French-Australian female-dominated coproduction did make it to Cannes.
Based on “Our Father Who Art in the Tree.” a novel by Australian Julie Pascoe, The Tree stars French cinema staple Charlotte Gainsbourg and 8-year old Aussie newcomer Morgana Davies, as mother-of-four widow Dawn and her cherubic, whimsical daughter Simone. After the sudden death of Peter, Dawn’s stereotypically handsome, tanned truck-driver husband,...
- 11/16/2010
- by Zornitsa
- SoundOnSight
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