The real James B. Donovan and Tom Hanks as Donovan in 'Bridge of Spies' (Photos: AP/Dreamworks)

In 1962, New York lawyer James B. Donovan was given an unlikely mission: Facilitate the exchange of convicted Soviet spy Rudolf Abel for captured U.S. pilot Francis Gary Powers in hostile East Berlin.

The situation was, in fact, one that Donovan had predicted. Just five years earlier, the 46-year-old married father of four was assigned the unpopular task of defending Abel during his criminal trial—an example to the world that even spies get a fair shake in the American justice system. The case went all the way to the Supreme Court, and Donovan ultimately persuaded the court to spare Abel’s life arguing that he could be useful in the event of a hostage crisis.

When Donovan’s premonition came true, he was tapped to enter East Berlin alone, as a private citizen with no “official” support from the U.S. government, to negotiate the swap.

The Cold War tale is the basis for Steven Spielberg’s critically acclaimed movie “Bridge of Spies,” which stars Tom Hanks as Donovan and Mark Rylance, who just won an Oscar for his performance, as Abel. The film follows the humble lawyer, who later met with Fidel Castro to secure the release of thousands of prisoners in Cuba after the Bay of Pigs, on his first James Bond-like endeavor.

I recently caught up with three of Donovan’s adult children, Mary Ellen, John and Jan, to talk about their father’s legacy and the real-life events that inspired the movie.

David Onda: If you could sum it up in a few sentences, what kind of person was your father?

Mary Ellen Donovan: The movie captures him quite well, because he was a great study of people, and the movie showed that in so many ways. He would take it all in and respond accordingly. He was an incredible 360-degree person. He was very thoughtful, and it showed how much he loved the law. It was fascinating, because my father suffered fools poorly. And Abel was a very intellectual man who spoke four languages and was artistically inclined and read a lot, and so they recognized each other as two men who loved their own countries. Each loved their own country, and yet Dad wanted the entire world to see how America operates, how democracy and the constitution works for everybody.

John Donovan: I would echo that with respect to being discerning of individual characters of people we knew personally or people he dealt with in negotiations. That was the real key to the negotiation. It wasn’t a matter of trying to beat somebody at a game as if it were Gin Rummy, it was a matter of understanding what the other person needed and the extent to which you could meet those needs in exchange for what you wanted.

Mark Rylance as Abel and Tom Hanks as Donovan in 'Bridge of Spies' (Photo: Dreamworks)

Jan Donovan: He had a dry sense of humor that was really amusing. And he had great expressions on his face. He could be so kind as a father. For instance, when I would call him at the office, he always said, “It’s so good to hear from you.” Not “I’m in a rush. I’m too busy. I can’t talk to you now.” He always had time. And at the end, he would say, “Thank you. Thank you for calling.” He was so kind as a father.

Onda: Your father was kind of thrown under the bus in the situation with Rudolf Abel. He was asked to defend this man but then rebuffed at every corner as he tried to do his job. Did he become cynical about our justice system after that experience?

Mary Ellen: Oh my, never. I never met a less cynical person. This is a man who was General Counsel of the O.S.S., Office of Strategic Services during World War II. And secondly, he was associate prosecutor at the Nuremberg Trials, but his dastardly job was to collect all visual evidence. If you can survive that, David, you can anything.

Jan: At 27 years old.

John: I think that the Abel case, overall, was a great confirmation of America’s system of justice by which everybody should not only have a good and skilled defense, but even a good and skilled prosecution has to take place and an impartial judge. I recall that he felt that the final outcome of it all was perfect, because he got a 5-4 decision at the Supreme Court, which means that justice was served on the one hand—Abel was, after all, really a spy—but on the other hand, it’s clear that those Fourth Amendment considerations were taken very seriously. To him, it was a confirmation of our system of justice.

Onda: You mentioned the connection between your father and Abel, but as you mentioned, Abel did do the things he was accused of doing. How did your father feel about that? Did he care about his guilt?

John: He certainly did, as a citizen. He cared passionately about our system of justice. And he had been himself a commander in naval intelligence and a believer in our own intelligence system. He was an American Legion commander, in fact, at the very time he was undertaking that defense, and so he was a very patriotic, loyal American, which played into his concern both in national security and for the defense of the poor and the unpopular, which is America’s finest attribute.

Mary Ellen: It’s very, very interesting that he can go from World War II, right into Russian spies, right into Cuba and then he’s president of the Board of Education of New York City during busing and integration issues and then became president of [Pratt Institute] in the middle of a student uprising throughout the United States. We were picketed constantly. [laughs] We got picketed because he was a “commie lover.” We got picketed when the Board of Education had the busing issues. And we got picketed again during student uprisings. It was a family affair, David.

Onda: Something that really stuck out to me as I watched “Bridge of Spies” was the loneliness of being out in Germany during this time. I can’t imagine how he felt being out there on this solo mission. What did he talk about in regards to his time in Berlin? Was he ever frightened?

Hanks and Amy Ryan as the Donovans in 'Bridge of Spies' (Photo: Dreamworks)

Mary Ellen: You know, it was interesting, and this is a fascinating point – he was not government. He was an individual lawyer who went in there, so it really helped to get the job done because it made him very fluid. The same occurred with Cuba, because he went in there alone. He had a tracking device on him when he was in Cuba. He was on his own there, too. I think he relished it, frankly. He always had a sense of drama and the O.S.S. in him came out. He relished it. He was never a man to be frightened of anything.

John: I think one of the keys was the fact that he had a constant sense of what was real. That situation is one in which somebody trying to figure it out could have been knocked around by those two different parties, the Russians and the East Germans, and you’d be so dizzy you wouldn’t know which way was up unless you really kept in mind: “Who’s really in charge here?” And that was the Russians, of course. He didn’t take the East Germans very seriously, and it’s a good thing, because that was reality. And he wasn’t gonna be knocked from one side to the other side. Both the Russians and the East Germans were trying to play this fantasy that the East Germans had real power in the situation, but he wasn’t accepting that. He kept his eyes on the prize.

Jan: That’s the part though, that made me emotionally sad, when I saw the harsh conditions and how he was truly alone, as you said, David.

Onda: I get the sense that your father was a humble man. It’s funny that he now has the greatest living actor Tom Hanks portraying him in a movie. How would he feel about that?

John: He was very careful about anything that looked like he was personally trying to call attention to himself. He didn’t want that as a person or as a lawyer, especially back in those days when self-laudatory comments were looked down upon by the legal profession. He was extremely conscious of that and very careful. Sometimes he would get criticized for undertaking this task, and he had an encounter once with someone in the Bar Association, who said to him, “Don’t you feel guilty sometimes about this?” And his response was to explain to him—and he was shocked that he had to explain this to another lawyer—it was a humble privilege to be able to participate in something like this. He didn’t see it as some kind of thing by which to burnish his ego or anything like that. That was far from the role that he envisioned for himself.

Mary Ellen: I think all three of us are very grateful that we were born and raised in Brooklyn. Brooklyn can keep you real.

Onda: What was it like when your father was gone on this mission? Did any of you or your mother have suspicions about what he was up to, and did you actually find out about his involvement while watching TV?

Jan: I did. I had been away in school and didn’t know anything about him being in Berlin, and when I got back to my room at school, the girls were all running up to me saying they had heard something on the radio. And then I got a call from one of the CIA agents, and so I did go to see him. I was first person in the family to see him when he got back [in Washington]. He was completely exhausted, of course. The higher-ups at school, the authorities, would not allow me to fly back to New York with him. Can you imagine, to be greeted by hundreds of reporters at the airport in New York? That was always a disappointment for me, for sure.

Mary Ellen: And for John and I, we were in our apartment and it was two o’clock in the morning and a reporter called the house. We thought he was off golfing in Scotland. Agents were sending us, periodically, a postcard. He had filled out postcards and an agent in Scotland was sending them to us. We thought he was having a well-deserved holiday in St. Andrews in Scotland. I remember it so well when the phone rang and woke my mother up and the reporter was saying, “You must be so proud, you must be so happy with what he’s accomplished.” She was confused, she said, “Did he get a hole in one?”

Hanks as Donovan prepares for the hostage swap in 'Bridge of Spies' (Photo: Dreamworks)

Jan: Typical mom.

Mary Ellen: My brother and I were astonished, because by the next morning, way into the night, we must have had 100 newspaper, radio and television people in our apartment.

Onda: If you were watching “Bridge of Spies” with an audience and could point out some of the little things you love about it, what would you point out?

Jan: The recreation of Brooklyn is amazing. And, also, Berlin. From what I hear about Berlin today, it’s completely modern. Steven Spielberg did such an amazing job. It’s so beautifully done.

John: I’d say, number one, the argument at the Supreme Court, which in fact I attended. I don’t remember it that clearly, it was 1959, a long time ago, but to see Hanks getting up there and saying, “Let’s tell the world who we are,” with such conviction – that was dad’s type of conviction and worthy of general emulation, I think.

Mary Ellen: The first is with him sitting with Abel and there was a close-up of Tom Hanks with his hand near his face, pondering, thinking. His whole demeanor was very much my father. My most breath-taking moment is at the bridge when Mark Rylance is pulled up in a car and he comes out and he’s a little befuddled, he’s not quite sure where he is and he looks around and sees Tom Hanks, my father, and he says only one word: “Jim.” It just absolutely breaks my heart, because in a singular word, you can hear respect, you can hear affection, you can hear thankfulness. It’s a beautiful little scene, and he only says one word.

“Bridge of Spies” is now available with XFINITY On Demand, as well as on Blu-ray and DVD. Click here for more information.

The opinions expressed are solely those of the author and do not necessarily reflect the views of Comcast.

The post James B. Donovan’s Family Offers Look at Real-Life ‘Bridge of Spies’ Hero appeared first on Movie Blog.

“Batman v Superman: Dawn of Justice” picks up two years after the events of “Man of Steel,” which saw Superman’s epic battle with General Zod result in the death of thousands of innocent people in the city of Metropolis.

The new movie, which opens this Friday, March 25, finds Clark Kent/Superman (Henry Cavill) still struggling to find his place in the world as the public begins to wonder if he belongs in it at all. Among Superman’s detractors is billionaire Bruce Wayne (Ben Affleck), who moonlights as the vigilante known as Batman and begins to contemplate whether the burden of stopping Superman from (potentially) destroying the Earth falls on his shoulders.

Meanwhile, the third most powerful man in the greater Gotham-Metropolis area, businessman Lex Luthor (Jesse Eisenberg), sees the opportunity to eliminate his competition by turning the heroes against each other.

XFINITY.com Senior Entertainment Editor David Onda sat down with the entire cast of “Batman v Superman” to talk about the new movie. See what they had to say below:

BEN AFFLECK (Batman/Bruce Wayne) discusses the criticism over his casting as Batman and reveals how he connected the dots between The Dark Knight’s origins and his grizzled persona in the new movie.

HENRY CAVILL (Superman/Clark Kent) talks about exploring Superman’s human side and the trials and tribulations of being a “rookie” superhero.

JESSE EISENBERG (Lex Luthor) explains why the infamous Superman villain Lex Luthor hates the Man of Steel, and reveals the inspiration behind his version of the character.

GAL GADOT (Wonder Woman/Diana Prince) discusses Wonder Woman’s big-screen debut and the moment she shared her first scene with Batman and Superman.

AMY ADAMS (Lois Lane) opens up about starring in a film with strong female characters and reveals what makes co-star Henry Cavill so “super.”

DIANE LANE (Martha Kent) opens up about what it means to be Superman’s mother and how comic book movies have changed 20 years after “Judge Dredd.”

LAURENCE FISHBURNE (Perry White) dishes on his role as Perry White and answers the age old question: Why does no one recognize Clark Kent is Superman?

HOLLY HUNTER (Senator Finch) opens up about her role as Senator Finch in the superhero movie, and dishes on matching wits with Jesse Eisenberg’s Lex Luthor.

ZACK SNYDER (director “Batman v Superman”) opens up about the most difficult part of filming “Batman v Superman” and reveals what he learned from “Man of Steel.”

The opinions expressed are solely those of the author and do not necessarily reflect the views of Comcast.

The post Inside ‘Batman v Superman: Dawn of Justice’ with Affleck, Cavill and the Cast appeared first on Movie Blog.

Everyone knows Superman’s greatest weakness is the glowing outer space rock known as kryptonite, but what is the greatest weakness of “Batman v Superman” star Henry Cavill, who plays the Man of Steel and his human alias Clark Kent? Check out the video above to see what Cavill, Jesse Eisenberg, Diane Lane, Holly Hunter and Laurence Fishburne said is their own personal kryptonite.

Click here to check out XFINITY.com’s full interviews with Ben Affleck, Gal Gadot, Amy Adams and the rest of the”BvS” cast.

“Batman v Superman” opens in theaters nationwide this Friday, March 25.

The opinions expressed are solely those of the author and do not necessarily reflect the views of Comcast.

The post ‘Batman v Superman: Dawn of Justice’ Stars Reveal Their Greatest Weaknesses appeared first on Movie Blog.

Nadia Hilker and Bill Skarsgård in 'The Divergent Series: Allegiant' (Photo: Lionsgate)

When we left “The Divergent Series” in last year’s hit sequel “Insurgent,”  Tris (Shailene Woodley), Four (Theo James) and their gang of rebels had overthrown the crooked Erudite leader Jeanine (Kate Winslet) and discovered that there is, indeed, life beyond the walls of Chicago.

In the new follow-up “Allegiant,” which is now in theaters nationwide, Tris and her allies venture into the unknown as the society within Chicago’s limits continues to crumble under a new ruler.

The group soon encounters a compound called the Bureau of Genetic Welfare, where they learn the shocking truth behind the creation of Chicago’s factions and themselves. As the film series travels beyond the wall, we are introduced to a new cast of characters, including the Bureau’s leader, David (Jeff Daniels), a scientist named Matthew (Bill Skarsgård) and a “genetically damaged” rebel called Nita (Nadia Hilker).

I recently sat down with Skarsgård (“Hemlock Grove”) and Hilker (“Spring”) to talk about the new film. Check out our chat below:

David Onda: You both play complicated characters in the sense that they’re conflicted about their part in the Bureau’s experiments. What attracted you to these roles?

Nadia Hilker: Nita is a great, strong young woman who is very confident and badass and she’s a good human being. What’s not to like about that? She is a badass. A good badass.

Bill Skarsgård: We didn’t have a script when we got the job. It was weird to be gauging what character you were playing. And so we based it on what we were told, and I was like, “Ok, who is this Matthew guy?” It was important for me, at least, that the character had his own agenda or he had something that was his and he wasn’t just kind of a tool for the plotline. This guy is someone that stands for something that – he’s not what he appears. There’s a lot of things where you can play with the little subtleties, and that made him fun to play.

The cast of 'Divergent: Allegiant' (Photo: Lionsgate)

Onda: You joined an ensemble cast that’s already done two movies together. Did you find it easy to assimilate into this group?

Hilker: It was easy, but it didn’t feel easy. It was pretty intimidating and nerve-wracking. We were like the new kids in school. I was just really happy that I had Bill and he was there, because we were kind of in the same boat and became really good friends. But, yeah, I can’t wait to go back and shoot the next one this summer. I wouldn’t say we’re a family, but we like each other, we spent some time together and the people are familiar. It was pretty intimidating in the beginning.

Skarsgård: Yeah, I’d say the same thing. These guys have known each other for 2-3 years. They were so relaxed in what they were doing and kind of goofing around between takes. They all have a lot of inside jokes. So, yeah, it was fun, but what was nice is the more we got to work the more we got to know everybody. I’m looking forward to going back to it now.

Onda: And you got to work with Jeff Daniels, who is an amazing actor and a nice guy by most accounts.

Skarsgård: And a great musician, did you know that about Jeff?

Onda: I did know that.

Hilker: I didn’t, really?

Skarsgård: He tours with his son, yeah.

Hilker: I did not know that.

Skarsgård: He plays the blues. He’s a guitarist. He would sit on set and have this electric guitar that he would sit and play. It was, like, a digital guitar, travel-sized. He would just sit there and work on his patterns and solos and stuff like that.

Onda: This is the biggest movie either of you have done. I know the series uses a lot of green screen, but they also built some big sets for the film. What was it like being a part of this huge production?

Hilker: I remember there was that one set where they built a little city with tents and it was the most mind-blowing thing I’ve ever seen in my life. It felt like Morocco 200 years ago, and there was steam everywhere and hundreds of extras. When you think of a movie set when you’re a kid, that was that. They don’t make movies like that [much] any more, so I’m really happy that I got to experience something like that and been to a film set of that size.

Jeff Daniels as David in 'Divergent: Allegiant' (Photo: Lionsgate)

Onda: Bill, you come from an acting family. Has it helped to watch your dad (Stellan Skarsgård) and brother (Alexander Skarsgård) navigate the Hollywood machine before you?

Skarsgård: It’s been really important for me to be responsible for my own work. I’m very stubborn that way. I’ve never tried to look or care about their careers, although I watch their things and I can go, “Wow, I really admire my dad. He’s fantastic in this movie. My brother did such a great job.” I’m just doing my own little race and I try to focus on that, but they’re always there to help, especially if you have work issues. It’s easy to be surrounded by people that understand what you’re going through. If I have problems getting along with this person or the scene is not really working or whatever it is, you can talk to them. I know I have friends, even Nadia – actors who don’t have anyone in their family that get what they’re doing. “Oh, you go off and do this little thing!” They don’t know what you’re doing, they don’t understand what you’re doing or what you are in terms of your profession. And that’s always really helpful to have a family where you can verbalize things, and not only have they been where you are, they have tons of experience.

Onda: Which scene in this move are the fans of this series going to be super excited to see?

Hilker: Oh, so many. I think the moment where they’re finally coming to the other side of the wall is definitely a big moment. I don’t want give away too much.

Skarsgård: I feel like this movie has a lot more special effects than the previous ones because the Bureau kind of adds this sci-fi element to it with their technology. It has this new style to it. If you look at the movies, the first movie is kind of introducing the audience to the world, the second movie is almost like the outcasts – the Factionless – and you get introduced to that world, and then in this one you’re introduced to the third world, which is our world, the Bureau of Genetic Welfare, and what’s outside of the wall. It adds a new element to the world.

“The Divergent Series: Allegiant” is in theaters everywhere now. Click here to buy tickets through Fandango.

The opinions expressed are solely those of the author and do not necessarily reflect the views of Comcast.

The post Five Minutes with ‘Divergent: Allegiant’ Stars Nadia Hilker and Bill Skarsgård appeared first on Movie Blog.

“Star Wars: The Force Awakens” is available to own with XFINITY On Demand (click here to buy now), and now fans of the global phenomenon can discover even more about JJ Abrams’ reintroduction to a galaxy far, far away with exclusive documentaries, interviews, deleted scenes and more.

We got a sneak peek at “The Force Awakens’” bonus features – check out five things we learned about the movie from the scenes that were left on the cutting room floor:

1. Finn Was Really Not OK with This Whole Stormtrooper Thing

Stormtrooper FN-2187 (a.k.a. Finn) clearly didn’t have the heart to go through with the attack on Jakku in the early moments of “The Force Awakens,” but during a deleted scene entitled “Finn and the Villager,” we see the full extent of his refusal to comply with orders. After a fallen trooper smears blood on Finn’s helmet, he’s apparently shaken from his First Order-imposed brainwash and begins to panic. Just before Kylo Ren (Adam Driver) arrives to wipe out the village, the deleted scene shows Finn (John Boyega) encountering a terrified village mother cradling her infant child. Finn refuses to attack and the mother runs off.

Click Here to Own ‘The Force Awakens’ with XFINITY On Demand

2. JJ Abrams Knows How to Make an Entrance

Princess—er, General—Leia Organa’s re-introduction to the “Star Wars” film series was always going to be one of the high points of “The Force Awakens,” but Leia’s entrance was nearly a throw-away scene early in the film. In the deleted scene “Jakku Message,” we see the Resistance base receive word that the village of Jakku has been destroyed and their best pilot Poe Dameron (Oscar Isaac) and his BB-8 droid have gone missing. The message is delivered to General Leia (Carrie Fisher), who remarks: “Never underestimate a droid.” On cue, we get our first look at a red-armed C-3PO who anxiously cries, “This is a catastrophe!”

Instead of this frankly uninspired and anti-climactic reveal of Leia (and C-3PO) to the new trilogy, Abrams saved her reveal for when she reunites with Han Solo (Harrison Ford) on Takodana. Good choice.

3. Kylo Ren Isn’t Impressed by the Millennium Falcon

When Han Solo, Chewbacca (Peter Mayhew), Rey (Daisy Ridley) and Finn crash land the Falcon on the Starkiller Base planet, Kylo Ren immediately senses the famous smuggler’s presence. In a deleted scene entitled “Kylo Searches the Falcon,” we learn that Kylo immediately ventured out onto the planet’s snowy surface to sweep the ship for signs of his Resistance foes, but comes up emptyhanded. Although it was cut from the film, “Star Wars” fans will certainly appreciate the familial importance of the moment Ren steps into the cockpit.

Browse the Full Collection of ‘Star Wars’ Films Available to Own

4. Rey and Finn Didn’t Walk Miles Through the Snow

After bailing on the Starkiller Base with Kylo Ren in hot pursuit, Rey and Finn eventually end up in a whimsical forest for their final showdown with the lightsaber-wielding madman. The final cut of “The Force Awakens” would suggest that Rey and Finn walked through the snow before arriving at the forest, but a deleted scene called “Snow Speeder Chase” shows that the duo hopped a First Order snow speeder to make their escape. The scene features unfinished and unpolished special effects, which evokes vintage “Star Wars” feels as Finn and Rey trade “Tron”-esque laser blasts with a pair of Stormtroopers on their tail.

5. Finn’s Going to Fine, Guys

I don’t think anyone really questioned whether Finn had survived his fight with Kylo Ren at the end of “The Force Awakens,” but JJ Abrams attempted to keep the character’s fate ambiguous. In a deleted scene entitled “Finn Will Be Fine” (subtle, right?), a doctor inspects the unconscious hero back at the Resistance base before approaching a sweaty, dirty and concerned Rey with a few words of reassurance: “You’re friend’s gonna be just fine.” The theatrical cut of the film allows for a much more dramatic goodbye between Rey and Finn as we wonder what condition he’ll be in when he awakes. Fun fact: The doctor still appears in the film, sarcastically consoling a melodramatic Chewie while checking him for injuries.

Check out all six deleted scenes with “Star Wars: The Force Awakens” on digital HD with XFINITY On Demand. Click here to own the film now.

The opinions expressed are solely those of the author and do not necessarily reflect the views of Comcast.

The post 5 Things We Learned from ‘Star Wars: The Force Awakens’ Deleted Scenes appeared first on Movie Blog.

“A long time ago in a galaxy far, far away…”

For every “Star Wars” fan, the journey into George Lucas’ dazzling outer space saga begins with those 10 words. And with the explosive success of J.J. Abrams’ 2015 series reboot, “The Force Awakens,” fans old and new are revisiting the original trilogies for a fresh look at Luke, Leia, Han, Obi-Wan, Vader, Yoda, Chewie, R2, 3PO, Anakin, Padma and, yes, even Jar Jar.

The first six “Stars Wars” films are now available to own with XFINITY On Demand. Why should you revisit the series with your own in-house movie marathon? Find out below.

“Star Wars: Episode IV – A New Hope”

Release date: May 25, 1977

“Every once in a while I have what I think of as an out-of-the-body experience at a movie … ‘Star Wars’ works like that.” – Roger Ebert

Sure, the special effects of this very first “Star Wars” film seem antiquated by today’s standards, but keep in mind that film fans of 1977 had never seen anything this advanced on the big screen. However, it’s not the special effects that make this film a classic, it’s the storytelling – a timeless tale of good (the Light) and evil (the Dark), a damsel in distress and a wise-cracking hero sowing the seeds of cinema’s greatest sci-fi soap opera.

CLICK HERE to own “A New Hope” now.

“Star Wars: Episode V – The Empire Strikes Back”

Release date: May 21, 1980

“‘The Empire Strikes Back’ might be the only example of a movie that set the social aesthetic for a generation coming in the future.” – Chuck Klosterman

“Wait, that’s it? But… what about Han?” I dare you to resist punching up your copy of “Return of the Jedi” as the end credits role on “The Empire Strikes Back,” which is widely regarded as one of the greatest films of all time. As Bill Hader’s “SNL” character Stefon might say, this movie has everything: wampas, tauntauns, bounty hunters, AT-AT Walkers, carbonite, Jabba the Hutt, Billy Dee Williams and one of the best ad-libbed lines in movie history. Leia: “I love you.” Han: “I know.”

CLICK HERE to own “The Empire Strikes Back” now.

“Star Wars: Episode VI – Return of the Jedi”

Release date: May 25, 1983

“‘Return of the Jedi’ is fun, magnificent fun. The movie is a complete entertainment, a feast for the eyes and a delight for the fancy.” – Roger Ebert

It was the grand finale. Or so we thought at the time. Six years after the “Star Wars” series debuted, fans finally got to witness the climactic showdown between Luke Skywalker and Darth Vader, but no one could have predicted the finale’s iconic paternal reveal. If you’re new to the series, “Jedi” is a must-see to connect the dots to “Return of the Jedi.” If you’re an old fan, just remember – this is the one with Leia’s iconic bikini. Ewoks, I mean. This is the one with the ewoks.

CLICK HERE to own “Return of the Jedi” now.

“Star Wars: Episode I – The Phantom Menace”

Release date: May 19, 1999

“The droid-deprived among us should just sit back and savor George Lucas’ spectacular vroom-vroom with a view, a spiffy theme park that’s part video game, part sprawling myth and almost all entertaining as it gently expands the familiar saga.” – Susan Wloszczyna, USA Today

Believe it or not, “The Phantom Menace” is to an entire generation of film fans what “A New Hope” was to audiences in the ’70s. For nearly two decades we wondered, what would “Star Wars” be like with all this computer power? The “Phantom Menace” prequel, set 32 years before the original film, is the dazzling answer. To boot, we’re introduced to the hopelessly likeable Ewan McGregor as a young Obi-Wan Kenobi, who carries the series’ familiar master/apprentice theme in capable fashion. And those underwater scenes? Stunning.

CLICK HERE to own “The Phantom Menace” now.

“Star Wars: Episode II – Attack of the Clones”

Release date: May 16, 2002

“No screen fantasy-adventure in recent memory has the showmanship of ‘Clones’’ last 45 minutes.” – Mike Clark, USA Today

While the primary narrative of the prequel trilogy explains how and why Anakin Skywalker becomes Darth Vader, each film does its part to fill in the back stories of other beloved “Star Wars” characters. “Attack of the Clones” is the missing link for original trilogy stand-outs Darth Sidious/The Emperor and Boba Fett, and fleshes out the dysfunctional Jedi family tree with Christopher Lee’s Count Dooku. And, yes, there’s a lot less Jar Jar Binks in this one.

 CLICK HERE to own “Attack of the Clones” now.

“Star Wars: Episode III – Revenge of the Sith”

Release date: May 19, 2005

“‘Episode III’ is a return to the classic space opera style that launched the series.” – Roger Ebert

It was the grand finale. Or so we thought at the time. For prequel fans, it was hard to grasp how the precocious little pod racer they met in “The Phantom Menace” (played by Jake Lloyd) would grow to become the baddest dude in the galaxy. In “Revenge of the Sith,” Hayden Christiansen goes full Veruca Salt – if, instead of spending daddy’s money, her talent was murdering Tusken Raiders – with his petulant portrayal of 22-year-old Anakin Skywalker. In the end, the series comes full circle as two Jedi masters (with a father-son relationship) face off in an epic duel.

 CLICK HERE to own “Revenge of the Sith” now.

The opinions expressed are solely those of the author and do not necessarily reflect the views of Comcast.

The post ‘Star Wars’ Revisited: Why the Original 6 Films Are Even Better Than You Remember appeared first on Movie Blog.

Rubik’s Cubes, leg warmers, royal weddings, giant cell phones, Michael Jackson and “The Super Bowl Shuffle” – yes, the 1980s were a magical time.

CNN is currently reliving the decade of Reagan in the new docuseries “The Eighties” (watch full episodes online now) which explores the era’s “cultural, political and technological impact on today.” With nostalgia running high—and an incurable case of “Pac-Man Fever”—we’re taking a look back at some of the decade’s most popular films and the weird and wonderful scenes that make us say, “Yeah, that was the ’80s.”

So, grab a can of TAB and a bag of Pizzarias, and start reliving the 1980s with movie moments that defined the decade.

1. “Dirty Dancing” (1987)

“Nobody puts Baby in a corner”

The Moment: When rebel dance instructor Johnny Castle (Patrick Swayze) rescues the innocent Frances “Baby” Houseman (Jennifer Grey) from her corner seat at the end-of-season talent show, he leads her to the stage to execute the most epic life in ’80s cinema. Go ahead, try listening to “(I’ve Had) The Time of My Life” without thinking about it.

Rent or own “Dirty Dancing” with XFINITY On Demand.

2. “Top Gun” (1986)

“I feel the need… the need for speed.”

The Moment: Cheesy character catchphrases are a hallmark of ’80s movies, and few did it as well as Navy pilots Pete “Maverick” Mitchell (Tom Cruise) and Nick “Goose” Bradshaw (Anthony Edwards), whose bromance spawned one of the most repeated rally cries of the decade: “I feel the need… the need for speed!” Move over, “Gag me with a spoon.”

Rent “Top Gun” with XFINITY On Demand.

3. “Fast Times at Ridgemont High” (1982)

“Hi, Brad. You know how cute I always thought you were.”

The Moment: Eighties teen comedies are notorious for their nude scenes, but no moment has endured quite like the “Fast Times” dream sequence in which Linda Barrett (Phoebe Cates) drops her red bikini top during Brad Hamilton’s (Judge Reinhold) poolside fantasy. What happens to Brad next is… well, he should have locked the bathroom door.

Rent or own “Fast Times at Ridgemont High” with XFINITY On Demand.

4. “The Breakfast Club” (1985)

“Sincerely yours, The Breakfast Club.”

The Moment: John Hughes’ magnum opus “The Breakfast Club” is synonymous with the 1980s, and no moment in the film is more iconic than Judd Nelson’s triumphant post-detention fist pump as Simple Minds’ “Don’t You (Forget About Me)” strummed in the background. You want an ’80s movie freeze-frame? Yeah, it’s got that, too.

Rent or own “The Breakfast Club with XFINITY On Demand.

5. “Footloose” (1984)

“Let’s dance!”

The Moment: If Kevin Bacon’s angry warehouse dance (complete with dramatic flashback montage!) isn’t enough ’80s goodness for you, the final dance sequence featuring Kenny Loggins’ title track and an absurd amount of glitter will have you digging up your old Walkman. And don’t get me started on the prom fashion. “Everybody cut, everybody cut…”

Rent “Footloose” with XFINITY On Demand.

6. “Pretty in Pink” (1986)

“Try a little tenderness…”

The Moment: Filmmakers (and Milli Vanilli) loved a good lip-sync scene in the ’80s, and “Risky Business,” “Dirty Dancing” and “Ferris Bueller” had some of the best. But nobody did a lip-sync/interpretive dance combo quite like “Duckie” Dale (Jon Cryer), who professed his unrequited love for Andie Walsh (Molly Ringwald) via Otis Redding’s “Try a Little Tenderness.”

Click here to watch “Pretty in Pink” online now with HBO.

Rent or own the movie with XFINITY On Demand.

7. “The Karate Kid” (1984)

“Sweep the leg.”

The Moment: In a classic ’80s moment of good vs. evil, Johnny (William Zabka) is ordered to sweep Daniel’s (Ralph Macchio) injured leg during the All Valley Karate Championship. After suffering several brutal blows, Daniel assumes the “Crane” stances and delivers a tournament-winning kick as his sensei Mr. Miyagi (Pat Morita) looks on.

Click here to watch “The Karate Kid” online now with ENCORE.

Own the movie with XFINITY On Demand.

8. “Say Anything…” (1989)

“In your eyes, the light the heat…”

The Moment: Is there anything more ’80s than Peter Gabriel blaring on a giant boom box? (Maybe Alf drinking a can of New Coke.) This iconic moment actually happened on the big-screen when the recently dumped Lloyd Dolber (John Cusack) played the song for his ex (Ione Skye) beneath her bedroom window at dawn.

Rent or own “Say Anything…” with XFINITY On Demand.

9. “Flashdance” (1983)

“Can I start again?”

The Moment: Few ’80s films spawned as many hit songs as “Flashdance,” which gave the world “Maniac” and “Flashdance… What a Feeling,” which served as the soundtrack to steel-worker-turned-dancer Alex Owens’ (Jennifer Beals) epic final audition. If that weren’t enough, Alex’s post-audition embrace with boyfriend Nick (Michael Nouri) ends in an ’80s movie freeze-frame.

Rent “Flashdance” with XFINITY On Demand

10. “Ferris Bueller’s Day Off” (1986)

“Cameron Frye, this one’s for you.”

The Moment: John Hughes doubled down on his karaoke moments in 1986. Just four months after Jon Cyrer faux-serenaded Molly Ringwald, Ferris Bueller (Matthew Broderick) hijacked a float during Chicago’s Von Steuben Day parade to lip-synch both “Danke Schoen” and “Twist and Shout” for his buddy Cameron (Alan Ruck).

Rent “Ferris Bueller’s Day Off” with XFINITY On Demand.

11. “Risky Business” (1983)

“Just take those old records off the shelf…”

The Moment: …and three years before that, Tom Cruise as Joel Goodson enjoyed a weekend home alone by dancing in his underwear and lip-syncing Bob Seger’s “Old Time Rock and Roll.” The iconic hardwood floor slide has spawned numerous TV and film recreations, and one unfortunate failure that went viral several years ago.

Rent or own “Risky Business” with XFINITY On Demand.

12. “When Harry Met Sally…” (1989)

“I’ll have what she’s having.”

The Moment: One of cinema’s most memorable lines was delivered (by director Rob Reiner’s mother) in one of the ’80s most memorable movie moments. Meg Ryan’s preceding “performance” is so beloved that Katz’s Deli, where the scene took place, features a sign that reads: “Where Harry met Sally… Hope you have what she had!”

Rent “When Harry Met Sally” with XFINITY On Demand.

13. “Back to the Future” (1985)

“That’s the power of love.”

The Moment: It’s not so much what happened in this scene from “Back to the Future” as much as it is the song that plays during it. As Marty McFly (Michael J. Fox) hitched a skateboard ride on the back of a pickup truck, Huey Lewis and the News’ infectious ’80s hit “The Power of Love” thumped in the background as Marty arrived (late) to school.

Rent or own “Back to the Future” with XFINITY On Demand.

14. “The Wizard” (1989)

“Pick any game you want. I’m good at all of ’em.”

The Moment: Any late-’80s video gamer worth his salt had or desperately wanted the Nintendo Power Glove for their NES. The game system and its button-clad gauntlet received the Holy Grail of product placement when it was wielded with impressive effect in the Fred Savage movie feature-length commercial “The Wizard.”

Rent or own “The Wizard” with XFINITY On Demand.

15. “Rocky III” (1982)

“It’s the eye of the tiger, it’s the thrill of the fight…”

The Moment: No tribute to ’80s cinema would be complete without a nod to the decade’s affinity for ridiculous movie montages, and the reigning, defending, undisputed champion of montages pairs Survivor’s “The Eye of the Tiger” with scenes of Rocky Balboa’s (Sylvester Stallone) rise to the fame and fortune. Honorable mention: The Rocky and Apollo training montage that ends with both men frolicking in the ocean.

Rent or own “Rocky III” with XFINITY On Demand.

Click here to watch the CNN docuseries “The Eighties” online now with XFINITY On Demand.

The opinions expressed are solely those of the author and do not necessarily reflect the views of Comcast.

The post The 15 Most ’80s Moments from ’80s Movies appeared first on Movie Blog.

It’s been 14 years since we were first introduced to Calvin Palmer Jr.’s (Ice Cube) barbershop on the South Side of Chicago in the aptly titled film “Barbershop,” and 12 years since the film’s sequel.

This weekend, we catch up with the crew in the new movie “Barbershop: The Next Cut,” which finds Calvin contemplating a move to the suburbs as gang violence reaches terrifying heights in the neighborhood surrounding his shop. Franchise stars Cedric the Entertainer, Sean Patrick Thomas, Anthony Anderson and Eve return, while series newcomers Common, Deon Cole, Regina Hall, J.B. Smoove, Lamorne Morris and Nicki Minaj help give this sequel a fresh look.

I recently caught up with Ice Cube and Deon Cole to get the scoop on 5 ½ things you need to know about “Barbershop: The Next Cut” and its cast.

1. This “Barbershop” Sequel Is Seriously Funny… and Seriously Serious

“I think the time in Chicago is a little more serious, so how do you make a comedy about a community business like a barber shop and just do it all laughs?” Ice Cube told me. “That would be a mistake to me. That would be minimizing the reality of what’s going on. We wanted to do this movie and wrap it in a real-life situation, a situation that people in the barbershop come through with.

“We wanted to do a movie that reflected the reality of Chicago, because we want the people to feel like we care, we understand, we’re paying attention, that it’s vital and it’s movie-worthy to address it and try to attack it from an art-form point of view.”

2. If You Love “Friday,” You’ll Love “The Next Cut”

“People love my movie ‘Friday,’” Ice Cube began. “People think they love it because they think it’s just about smoking weed on the porch, but it’s way more than that. It’s about the day the bully gets his ass whooped. Everybody love that day. Everybody love the day the bully get his ass whooped.

“But why people watch, in their hearts, is because of the scene with the father and Craig, when he goes to get the gun because he wanna go kill Deebo and his father stop him. It’s a heartfelt moment. “We used to fight with our hands!” And it went deeper than just ha-ha-ha, smoking weed. That’s why those movies, when you have a moment like that, they still work and they actually feel better to the audience than a movie of all just laugh-out-loud jokes.”

3. It’s Hard to Get a Sandwich 0n the South Side of Chicago

“I’m in the streets of Chicago. To this day, I’m in the streets,” Windy City native Deon Cole told me. “I remember growing up, we used to know everybody who was the killers and the drug dealers and whatever. Now, these young dudes – we don’t know who’s who, and they out for their respect or whatever. There’s a lot of lost kids in Chicago that’s doing a lot of bad stuff. On top, there’s a lot of good kids, too. I think this movie is perfect for everyone. If we could change one life with this movie, that’s enough lives. I think this movie will put a lot on, not only kids minds but the parents’ minds that can make a change within their kid.

“I go get a corned beef sandwich and it’s 16-year-olds in front of the corned beef shop and when I’m walking through, I’m saying, ‘excuse me, sir’ to some 16-year-olds cause I don’t wanna get shot. [laughs] It’s just real. That’s real. You gotta respect these dudes if you’re over in their area.”

WATCH THE ORIGINAL ‘BARBERSHOP’ ONLINE NOW WITH HBO

4. Ice Cube Doesn’t Study Acting, But That’s Not a Bad Thing

“I’m embarrassed that I can’t find time to go and train as much as I think I should be,” Ice Cube said. “I guess that’s what makes me hungry to get better, because I know I can get better. I just try to be honest, man, with the material and with the moment and just try to not get in the way, not let me ego get in the way or don’t have a “what would Ice Cube do” moment. Just act, go with it.

“I think that’s the best way to do it, and still bring my flavor. Like the old actors — you saw James Cagney because he was James Cagney. He wasn’t trying to be all these different things. You go see Cary Grant because he f–kin Cary Grant. He ain’t trying to morph into all this other s–t.”

5. Ice Cube Sympathizes with Female Artists Like Co-Star Nicki Minaj

“I think she’s a true artist,” Ice Cube said in reference to working with Minaj. “She just dealing with an avalanche of interest in what she’s doing, so that makes you a little guarded until you understand who’s really down to help you navigate through this or help you maintain it and not try to suck from it and tear it apart.

“I would hate to be a female artist, just because of all the extra s–t they gotta deal with. Male artists go crazy cus of the s–t they deal with, but female artists, I’m pretty sure it’s two-times the pressure. I think she’s handling it like a champ. And she’s talented, so hopefully she just focuses on her talents and the work and gets love and joy and create and all that stuff. There’s a lot of noise around her.”

5 1/2. Barrack Obama Stars as Himself… Allegedly

The movie features a cameo by President Barrack Obama, but who played the part?

“That was Barack!” exclaimed Cole.

“You didn’t see, ‘Barack Obama as Himself’ in the credits?” quipped Ice Cube.

“Barbershop: The Next Cut” is in theaters everywhere now. Click here for more info or to order tickets now through Fandango.

The opinions expressed are solely those of the author and do not necessarily reflect the views of Comcast.

The post ‘Barbershop: The Next Cut’ Star Ice Cube: ‘I Would Hate to Be a Female Artist’ Today appeared first on Movie Blog.

Cora from “Ratchet & Clank” and Bella Thorne (Photos: Focus, Gustavo Caballero/Getty)

If you’ve ever owned a Sony Playstation, you’ve most certainly tackled adventures in the wild outer space world of the “Ratchet & Clank” series.

Now, 14 years after the first took game took consoles by storm, Ratchet (a fox-like mechanic) and his buddy Clank (a trusty robot sidekick) are coming to the big screen in their very own animated movie. The flick the video games’ original voice actors James Arnold Taylor and David Kaye as Ratchet and Clank, respectively, and chronicles the dynamic duos first meeting and subsequent mission to save the Solana Galaxy from the villainous Chairman Drek (Paul Giamatti).

“Ratchet & Clank” also features a cast of new characters voiced by John Goodman, Rosario Dawson, Sylvester Stallone and former Disney Channel starlet Bella Thorne, who plays comrade to Ratchet and Clank as a tough-as-nails space ranger named Cora.

I recently caught up with Bella Thorne to get the scoop on 5 and 1/2 things you need to know about “Ratchet & Clank” and its cast.

1. Bella Has Terrible Hand-Eye Coordination

“I don’t really have time to play video games, but I used to watch them a lot when I was younger because my brother played them,” Thorne told me. “But I’m just really bad with hand-eye coordination. If I could be so good, I’d be so f–king good. I’d take such pride in that, but I’m just bad. I’m just naturally not good, so I just watched him play it.”

2. Bella Barely Had to Act for “Ratchet & Clank”

“I play Cora. She’s a badass female chick. She’s super fun and very sarcastic. She’s all me, but I push it to the extreme with that character, which was very fun. We have so many similarities. It was barely acting.”

The “Ratchet & Clank” Team (Photo: Focus)

3. No, Seriously, Guys. Bella Barely Had to Act for “Ratchet & Clank”

“Usually for animation, you have to do a lot of work,” the 18-year-old said. “For me, usually you’re playing characters that are so young and so girly. So, so girly. And that’s just not me, that’s just not how I sound, so I have to do a whole different voice for that. But for this, it was so easy. You don’t understand. I literally didn’t have to do anything.”

4. Cora Is Basically Bella. You Don’t Understand, She Barely Had to Act for “Ratchet & Clank” 

“I’m telling you, I did not have to act. It was very easy for me, because this character is legit just like me. I got to use my manly voice, which was one of the best parts. They told me I’d get to use it and then they said, ‘You can even go deeper.’ And I was like, ‘Whoa, whoa, whoa, whoa, whoa. You better slide that back, because some people will think that this is a legit man playing this character.’ I still want people to know it’s still me.”

5. You Don’t Have to Play Video Games to See “Ratchet & Clank”

“It’s enjoyable for the whole family,” Bella boasted. “Usually the son is like, ‘Dad, we gotta go see this movie, this animation.’ It’s totally role reversal now because the dads are like, ‘No, son. We’re seeing this movie. Because I played this s–t when I was younger and this is so badass now that they’re actually making it into a movie.’ I think, for the parents, it’s a must-see. And for the kids that don’t know it because they haven’t played the video game, you can just go see this because it’s some badass spaceship galactic rangers. Who doesn’t like that? I don’t understand. Why don’t you like that? Of course you like it, it’s awesome. You’ve got this little fox character and this cute little robot and this bitchy girl in the back and this awesome monster. It is so cool! And then there’s funny sheep! Why wouldn’t you want to see this movie?”

5 1/2. Cora and Bella Have the Same Smile

“Like, that bitchy face, you know. That bitchy smile face.”

Catch Bella Thorne in “Ratchet & Clank,” playing in theaters everywhere now. Click here for more info or to order tickets through Fandango.

The post Bella Thorne ‘Literally Didn’t Have to Do Anything’ for ‘Ratchet & Clank’ Movie appeared first on Movie Blog.

Keegan-Michael Key and Jordan Peele in ‘Keanu’ (Photo: Warner Bros.)

After he’s dumped by his girlfriend, a 30-something slacker named Rell (Jordan Peele) finds comfort in an adorable stray kitten he affectionately calls “Keanu.”

But when Keanu is kidnapped from Rell’s home during a break-in, he calls upon his straight-laced cousin Clarence (Keegan-Michael Key) to join him in a rescue mission. Unbeknownst to the guys, Keanu is now the undisputed property of a gang leader named Cheddar (Method Man), who has no intentions of giving up his chain-wearing “gangsta kitty.”

That is, until he mistakes Rell and Clarence for a pair of cold-blooded killers called The Allentown Boys.

“We definitely designed this movie to be the most expensive cute kitten video of all time,” Jordan Peele told me during a recent interview alongside Method Man at Le Cat Café in Philadelphia. What else did the duo reveal during our chat? Check out 5 and 1/2 things you need to know about “Keanu” and its cast:

1. “Keanu” Was Inspired by a “Key & Peele” Sketch

“When Keegan and I would do our sketch show, there were a lot of sketches that involve us being regular dudes in these regular situations,” Peele explained. “One of my favorites is called ‘The Standoff.’ It’s about us delivering a bunch of cash to this Mexican drug lord in the middle of the desert and we open up the money and he tells us, ‘Now count the money.’ And we start doing like, ‘Count it? Like, all of it?’ And so that was kind of the first germ. I remember Keegan just going, ‘We should make a movie like this.’ And so I wrote it with another one of the ‘Key & Peele’ writers and here it is.”

2. Peele’s Weight Fluctuate Throughout “Keanu”

“It was very, very hot,” Peele told me. “I sweat a lot. You can see my weight fluctuate. You shoot a movie out of order. We were in New Orleans for six weeks or so. You take those two things into consideration and I go from fat to skinny, to fat to thin, to fat to fat. It’s very weird and it’s not a special effect. It’s not a prosthetic.”

Method Man in “Keanu” (Photo: Warner Bros.)

3. You Can Call Method Man by His Birth Name… or Maybe Not?

“For me, it was never about a name. It was about the actions of the person,” Method explained. “I have no ego when it comes to stuff like that. I do get offended if people just run up on me in the street and I don’t know you. ‘Cliff, what’s good?’ Nooo. Nooo. Nooo. No-no-no. And that’s for anybody that I don’t feel is familiar with me to even say ‘Cliff.’ But Method Man, that’s a public name, people yell that s–t in the street all day, and sometimes they’re not even talking about me — they’re looking for the actual meth.”

4. You’ll Probably Call Peele by the Wrong Name

“I’ve finally started accepting the fact and answering as Keegan when someone comes up to me and goes, ‘Hey, Keegan!'” Peele told me. “I get ‘Peele.’ I get ‘Key.’ I get ‘Key & Peele.’ I get, ‘You the dude from ‘Key & Peele’!’ Like, just pick one, man. Commit. Take the gamble and commit to one. I had a woman the other day go, ‘Keegan Michael-Key.’ And I’m like, ‘No, I’m not.’ And she was like, ‘I think you aaarrrre.'”

5. Method Man Likes to Play Against Type

“I don’t go into anything looking for any particular role, but I would prefer to play against type,” Method said. “Sort of like Tom Hanks in ‘Road to Perdition.’ He was always the hero of the movie, he was never the anti-hero. He was never that guy, and this movie showed him in a whole different light.’

“So, you wanna play a hairdresser or something?” Peele asked.

“Not exactly a hairdresser, but somebody very flawed. I loved flawed characters,” Method replied.

Peele, laughing: “So, the farthest thing I can imagine from myself: a flawed individual.”

“People have a perception of us people in the music business like you would look at a school teacher as a child,” Method explained. “You couldn’t imagine your school teacher excusing herself to go take a s–t, even though that’s what she was going to do. You couldn’t imagine it in your head in a million years, because we don’t look at them as exactly human. We hold them at a higher esteem than regular people, even though they’re regular themselves. Any flawed character, because people would never see it coming. Even though Method Man got me in the door, I want Cliff Smith to get the job.”

5 1/2. Method Man Used to Have a Cat

“I had a cat named Why,” he remembered. “We just named him Why. He was orange like Heathcliff. He ran out on the street and got killed by a car.”

“Keanu” is in theaters everywhere now. Click here for showtimes or to order tickets through Fandango.

The post Jordan Peele: ‘Keanu’ Is the ‘Most Expensive Cute Kitten Video of All Time’ appeared first on Movie Blog.

The Lonely Island: Akiva Schaffer, Andy Samberg and Jorma Taccone in ‘Popstar’ (Photo: Universal)

Move over, “Spinal Tap”—cinema’s funniest music mockumentary just might be The Lonely Island’s new film “Popstar: Never Stop Never Stopping.”

The movie stars real-life friends and former “Saturday Night Live” collaborators Andy Samberg, Jorma Taccone and Akiva Schaffer as recording artists Connor, Owen and Lawrence, members of a world-renowned hip-hop trio called The Style Boyz. When Conner (a.k.a. Conner4Real) emerges as the group’s Justin Timberlake/Beyonce/Nick Lachey, the rapper’s inflated ego causes Lawrence to quit the music business for a quiet life as a farmer while Owen settles for being one of Conner’s many lackeys.

While Conner initially finds massive success as a solo artist, his second album falls flat with fans and critics (it’s awarded a poop emoji in lieu of stars), and his world tour’s opening act, Hunter the Hungry (Chris Redd), outshines him nightly. As Conner’s career hits a downward spiral, he does everything he can (except reunite The Style Boyz) to stay relevant while further alienating his “friends,” family, fans, entourage and girlfriend (Imogen Poots).

I recently sat down with The Lonely Island for a hilarious 30-minute Facebook Live conversation (watch part 1 and part 2), after which Andy, Jorma and Akiva offered up 5 and 1/2 things you need to know about “Popstar: Never Stop Never Stopping.” Check them out below.

1. “Popstar” Is Not a Justin Bieber Parody Film

While Conner4Real does share similarities with the oft-embattled Canadian crooner, The Lonely Island guys watched “every” pop music documentary from Bieber’s “Never Say Never” to Katy Perry’s “Part of Me” while writing the movie. “We didn’t set out to go take down Justin Bieber,” Samberg explained. “We were like, ‘Let’s talk about the world of pop music and pop culture and social media.’ As far as we can tell, there’s two overt references to stuff that he has been a part of: the drumming and Anne Frank [incident].”

2. Conner4Real’s Absurd Entourage Is Not Unrealistic

Samberg’s character has a host of 32 outrageous employees on his payroll, including a wolf handler, umbrella wrangler and “perspective manipulator,” but such gigs aren’t so far-fetched in the music business. “‘Blunt roller’ is a very real thing,” Samberg revealed. “I did a photoshoot with Rick Ross and he fully had a blunt roller. He set up shop as soon as they arrived and was rolling them. And every time Ross was done smoking one—the dude always had eyes on him and when he was done with one, he’d ash it out and the dude would just hand him another one.”

Andy Samberg as Conner4Real in ‘Popstar’ (Photo: Universal)

3. Conner4Real’s “Kind of Funny” Tattoos Were Custom Made

“They were hand-drawn, but they were not drawn directly onto my skin,” Samberg told me. “They are applied tattoos, where you soak them with water, peel it off and reseal with a sealant spray. I had to shave… a lot. Literally everywhere. It was like being an Olympic swimmer where I had to constantly be shaving my body. It was an hour in makeup to put them on and an hour to take them off.”

“They were all kind of funny, but nothing was overtly funny,” Schaffer added. “They were all kind of funny, but trying to be real as well, so they didn’t seem beyond his intelligence or anything. There was a list that was all ‘con’-words like ‘confident.’”

“There was one that was crossed out,” Taccone recalled. “We brainstormed a lot of them. They were all spelled C-O-N-N.”

4. The Lonely Island Didn’t Find Instant Success at “Saturday Night Live”

While Andy, Jorma and Akiva became superstars at “SNL”—Andy as a cast member and Jorma and Akiva as writers—not every pitch to producer Lorne Michaels and the rest of their 30 Rock cohorts was a hit.

“‘MacGruber’ was a very bad pitch,” Taccone recalled. “Lance Armstrong was the host that week and [the premise] was that he was gonna play MacGyver’s stepbrother named MacGruber, and he defuses bombs only using pieces of s—t and pubic hair. And so anytime he’s asking people to hand him items, he’s like, ‘Hand me that pubic hair. I need that right now!’ And of course it bombed. And my second pitch that week was for a new kind of chunky mayonnaise. That was my commercial parody and everybody, for both pitches, was like an audible, ‘Ugh.’ It didn’t go over well. I was terrible at pitching. I f—king hated it.”

“I remember, we wrote the musical about the guy who wanted to wear shorts at night,” Samberg said, sending the others into a fit of laughter.

“It was a heartfelt musical about a kid whose dad won’t allow him to wear shorts at night,” Taccone added. “It was so weird. And then he rides a magic carpet of shorts.”

“Was that our first table read?” Samberg asked.

“Oh, yeah. We came in guns blazing,” replied Schaffer.

Schaffer, Taccone and Samberg on the ‘Popstar’ set (Photo: Universal)

5. The Lonely Island Is Not the Style Boyz, and They Don’t Sweat Solo Projects

“You’re friends for so long that you’re more family than friends,” Samberg said. “You reach a point where you’re like, no matter how much you’re going through personality or what you’re off doing, it’s a given that you’re gonna come back together and work more. I think we all just love what we create together.”

“It’s not like we don’t get annoyed with each other, but it is more in a familial sense,” Taccone added.

5 ½. Plus: They’ve Discovered the Secret to Friendship

“Humor and keeping it interesting in the bedroom,” Schaffer deadpanned.

“Popstar: Never Stop Never Stopping” is now in theaters everywhere. Click here for showtimes or to order tickets through Fandango.

The post ‘Popstar’ Creators Andy Samberg and The Lonely Island Reveal Their Worst ‘SNL’ Pitches, More appeared first on Movies.

“Warcraft”: Paula Patton as Garona, Travis Fimmel as Lothar and Rob Kazinsky as Orgrim (Photos: Universal)

“Warcraft” debuted in North American theaters just hours ago, but the film is already one of 2016’s biggest releases thanks to a near-record opening in China and more than $200 million in box-office totals worldwide.

The fantasy-action epic is based on the popular “Warcraft” video game franchise, which has enthralled millions of gamers for the past 22 years, and it follows a horde of orcs as they flee their dying world in search of a new home–the peaceful realm of Azeroth, which is inhabited by humans and protected by powerful magic-wielding guardians.

“Vikings” star Travis Fimmell leads “Warcraft” as human warrior Sir Anduin Lothar, who lives to care for his only son and protect his king (Dominic Cooper). When the orcs invade Azeroth, lead by a sinister warlock named Gul’dan (played in stunning motion-capture by Daniel Wu), Lothar is tasked with thwarting their campaign of death and terror. However, not all orcs are interested in destroying the human race, and a levelheaded orc chieftain named Durotan and his right-hand man Orgrim (Toby Kebbell and  Rob Kazinsky) begin to wonder if Gul’dan is leading the clans to their doom.

Bridging the gap between the orcs and the humans is a half-orc, half-human named Garona (Paula Patton), who just might be the key to peace in Azeroth. Once a slave, Garona finds herself trapped between two worlds until she is forced to choose one or the other.

Directed by sci-fi visionary Duncan Jones, “Warcraft” is an action-packed, visually enthralling crowd-pleaser that showcases the very best motion-capture characters ever created for the big screen. What else should you know about “Warcraft”? I recently caught up with Fimmel, Patton and Kazinsky for an inside look at the film:

Durotan the orc in “Warcraft”

1. The Cast Agrees: The Opening Moments of “Warcraft” Will Blow You Away

“The world you’re introduced to is like nothing else,” Travis Fimmel revealed. “To really get into the world of the orcs and [see] how realistic the motion-capture is and how advanced technology is.”

“We had these amazing sound stages and sets that were very real,” Paula Patton explained. “Even though the orcs are done in CGI after, we were with these great actors—Toby Kebbell and Daniel Wu—and you’re connecting with their eyes and with their souls. And then the art of it, quite frankly, I’ve never seen anything quite like it.”

“There’s a 12-second shot at the beginning of the movie where the camera just stays on Durotan’s face whilst he’s watching his pregnant wife sleep,” Rob Kazinsky told me. “It’s such a close up and it’s such a risky thing to do, but Duncan does it so bravely that once you’ve seen this creature and you’ve seen his soul, all the CGI aspect goes out the mind and the suspension of belief is fully encapsulated at that point. At no point, from then on, do you see these things as actors. They are people in their own right as much as any other character, and it’s that that I’m so excited to see because it’s that that people aren’t expecting to be as good as it’s gonna be.”

2. Rob Kazinksy Was Obsessed with “Warcraft” Games

“There was a point in my life where I was playing this game for 18 hours every single day,” Kazinsky told me. “It’s a very formative part of my life and it was a very major part of my life for a very long time, so to get to be a part of this movie is very much full circle for me. It’s very much the culmination of a lifetime of gaming and it’s kind of the dream that came true.”

He added: “I will say this, when I was fat and only playing games and nobody had any expectations of me and I didn’t have to be in shape and I didn’t have to ever be anywhere except online at a certain time… that was one of the happiest times of my life.”

Fimmel and Patton as Lothar and Garona in “Warcraft” (Photo: Universal)

3. No Green Body Paint Was Used in the Creation of Garona

“I was so scared of [body paint],” Patton revealed. “And right before we started filming, they said, ‘You know what, we’re gonna do it in post.’ The technology has advanced such that I would look much better and you could see her pores and if she’s cold or if she’s sweating. It was a lucky break.”

The fangs, however, were very real. “They took some getting used to, that’s for sure,” she said with a laugh. “I spent a lot of time getting used to them being in my mouth and stretching out my bottom lip. It would get comfortable when I got on set. There were a lot of moments where I didn’t feel like I was Garona until I had those in, and then those contact lenses that obscured my vision sort of helped me feel less human.”

4. “Warcraft” Is a Movie About Race Relations and Love

“It’s really about these two races fighting over the one world, and there’s good and bad in each race, and it’s trying to not judge a whole race by a few bad characters,” Fimmel explained. “And because there’s good and bad on each side, it’s a little more unique where the audience can root for characters on either side.”

“There’s something very sweet about this love between Garona and Lothar and the idea that you can see past the green and the tusks and the pointy ears and your soul connects with somebody else,” Patton later added. “The orcs and humans have equally good and bad in each. And you meet Durotan, an orc, and his wife, Draka, and they’re humanized. You see this couple bringing a life into their world, and so many people know what that is and that’s what’s kind of incredible to me.”

Durotan and Orgrim in “Warcraft” (Photo: Universal)

5. Orgrim’s Doomhammer Was Really a Stick

In the world of “Warcraft,” Orgrim the orc’s mighty Doomhammer is one of the game’s most feared and powerful weapons, but as Rob Kazinsky revealed, it was hardly a instrument of destruction on the set of the film.

“It was a black stick with some lights on it,” Kazinsky told me. “Unfortunately, whenever you’re there, you can’t be carrying the real deal. There wasn’t a real deal to carry either. We were all using black sticks as weapons. Often they were in a vague shape. Mine had a vague shape of a hammer at the end of it. If you imagine you were take a coat hanger and bend it into a shape and then put some balls on each corner of it and then put that on a stick, that’s basically what we all had.”

5 and 1/2. Travis Fimmel’s Best Day on Set Was…

“Probably the first time I got to see Paula Patton in her get-up in the film,” he quipped. “Pretty easy to go to work when you get up for that every morning.”

Upon hearing of Travis’ compliment, Patton bashfully remarked: “Oh, that Travis.”

“Warcraft” is now playing in theaters everywhere. Click here to order tickets and get showtimes through Fandango.

The post The ‘Warcraft’ Cast Agrees on the Scene That Will Blow Your Mind appeared first on Movies.

Billie the real-life Australian shepherd and Max from the new movie “The Secret Life of Pets” (Photos: David Onda, Universal)

This is Billie (above left).

He is is my 1-year-old Australian shepherd, and he loves playing in puddles, chasing his laser pointer and tearing the stuffing out of his Pound Puppy, Carl.

There’s one thing he doesn’t love: Being left at home. In anticipation of Universal’s new animated movie “The Secret Life of Pets,” I outfitted Billie with a GoPro camera and harness for Fourth of July Weekend to get a dog’s eye look at what he does when he’s at home alone, playing at the dog park, fighting with the vacuum, swimming in the ocean or barking at fireworks.

See the world from Billie’s point of view in the videos below:

“Home Alone”

“The Dog Park”

“Dog v Vacuum”

“The Dog Beach”

“Dog v Fireworks”

“The Secret Life of Pets” is in theaters everywhere now, and follows a pup named Max (voice of Louis C.K.) whose perfect life with owner Katie (Ellie Kemper) is turned upside-down when she adopts a burly new dog named Duke (Eric Stonestreet). When canine jealousy lands Max and Duke in hot water on the streets of New York, they must join forces to outrun a maniacal rabbit named Snowball (Kevin Hart) and his gang of “flushed pets.”

Click here to watch more clips from “The Secret Life of Pets” and click here to order tickets through Fandango.

The post The Secret Life of Billie: See What a Real Dog Does When No One’s Looking appeared first on Movies.

“Ghostbusters” stars Melissa McCarthy, Leslie Jones, Kate McKinnon and Kristen Wiig (Photo: Sony)

As the credits roll on New York City’s first preview screening of director Paul Feig’s “Ghostbusters” reboot, the audience openly hoots for the film’s four lead stars as their photos splash across the screen.

Melissa McCarthy receives a round of applause. The cheers grow for Kristen Wiig. The crowd enthusiastically pops for Leslie Jones. And, finally, the theater absolutely roars for “Saturday Night Live” cast member Kate McKinnon.

“Well, I was last,” McKinnon says coyly during our interview the next day. “That’s all that is.”

But that’s not all it is. As the “Ghostbusters’” resident techy weirdo Jillian Holtzmann (see: 1984’s Egon Spengler with badass tendencies), McKinnon strikes a chord with audiences who crave offbeat yet sincere characters like the ones she’s earned rave reviews for portraying on “SNL” since 2012.

“I think, in all of the characters I’ve played, there might be a common thread of it’s a person who is maybe floundering and bizarre on the outside, but is actually OK in their core,” the 32-year-old New York native explained. “And I think that, for all of her strangeness, [Holtzmann] has something figured out that the others don’t, which is just this sense of joy in herself and the work that she does. So she can say whatever the f–k she wants, because it’s coming from a place of peace and joy.”

Above all else, however, Holtzmann is just so damn cool. The proton pistol-licking engineer begins her journey through the movie alongside Dr. Abby Yates (McCarthy), a paranormal researcher who reconnects with ex-colleague Dr. Erin Gilbert (Wiig) after they’re approached about investigating supernatural activity at a local estate.

McKinnon, Wiig and McCarthy in the lab in “Ghostbusters” (Photo: Sony)

When the trio gets more than they bargained for (i.e. buckets and buckets of slime), they enlist the help of a street-wise MTA worker named Patty Tolan (Jones) to uncover the source of the city’s spike in ghostly activity. Armed with Holtmann’s imaginative array of ghost-crushing weaponry, the newly formed “Ghostbusters” hit the streets of the Big Apple to wage a four-woman war on the spirit world. And it’s so. much. fun.

For more on the new film, check out my full interview with Kate McKinnon below:

David Onda: Is it surreal to know you’re following the same path of someone like Dan Aykroyd, who started on “SNL” and then starred in “Ghostbusters” when he was also 32-years-old?

Kate McKinnon: That’s very weird. It’s very strange, certainly not something I thought would happen.

Onda: Do you remember the first time you watched the original “Ghosbusters”?

McKinnon: I don’t quite remember the first time, but it was a staple of my household. My parents were huge comedy people, so there was always a classic comedy on the VCR, and that was definitely one of them and it truly inspired me. It was so big in scope. I didn’t see how a comedy could be so many different things. It’s so genre-bending and it was sort of a first of its kind in that respect.

Onda: Paul and [co-writer Katie Dippold] have been pretty clear that they wanted four brand-new, original characters that aren’t just female versions of the originals. That said, did you feel a kinship with any of the original four while playing Holtzmann?

McKinnon: It’s definitely analogous to the Harold Ramis character in that it’s the tech geek, and I love what he did. And I love Bill Murray’s sort of cheerful, weird, libidinousness. I tried to make a combo of those two. And then the hair is, oddly enough, very reminiscent of the cartoon, but I hadn’t looked at the cartoon in years and I forgot about it. I said I wanna have sort of Tilda Swinton-esque hair, and then I saw the cartoon and I was like, “Oh my god, it’s the same! That’s weird.”

Onda: Tell me about the first time you had the full get-up on—the jumpsuit, the proton pack, the goggles and all that.

McKinnon: It was a real life-changer. A Ghostbuster is the most unconventional superhero, and my favorite kind of superhero. It’s a brain thing. I’ve never felt like more of a badass than strapping that on. In fact, now when I wear my backpack out, there’s a strap in the front and I do it even though I don’t need it, because I wanna conjure that feeling.

Chris Hemsworth as Kevin in “Ghostbusters” (Photo: Sony)

Onda: Chris Hemsworth is so, so funny as the Ghostbusters’ receptionist, Kevin. When you see that someone who already has everything is also naturally hilarious, is that just enraging?

McKinnon: No… it’s fine. [laughs] No, it was pretty frustrating. It was incredible to watch. The first time he came and did a scene, he just improvised the funniest things I’d ever heard in the most incredible deadpan. He’s a blessed person. And good for him.

Onda: And is it true the eyeglasses gag was all improv?

McKinnon: Oh, yeah. He was just like, [in an Australian accent] “Wait, can I take the lenses out of these? Wouldn’t that be funny, if he didn’t have any lenses in them.” On the fly! What are you gonna do? And he’s also nice. Ugh!

Onda: I got chills during your epic fight scene solo. Can you tell me about filming that sequence, because it’s not like you do action sequences every day.

McKinnon: It is not like I really do them, and I don’t really do them. That involved a lot of… this guy, Wally Garcia, was the stunt coordinator, and he had this troupe of 50 of the most incredible acrobats and stunt people. It took weeks to choreograph that, and we had to train after we got done filming. It took me far longer than it should have to learn that particular sequence of what was ultimately simple movement. My stunt double Meredith Richardson really was very patient. Very patient.

Onda: “Ghostbusters” is such a big moment in your career, and it’s received so much criticism from people who haven’t even seen the film. Have you taken that personally? Has it been a bummer to hear that reaction?

McKinnon: I think it’s a bummer culturally. I didn’t read any of the stuff, because I didn’t know where to find it, because I don’t engage in social media. I haven’t actually read any of it, but I heard a few of the sentences and I was just really surprised that, in this decade or century, that people would be saying that. I just hope they see the movie and maybe see the movie and maybe change their mind. Or not. You know. The internet is a frightening place to me, because anybody can be published, which I guess is what the First Amendment is all about. But the level of vitriol, in another time, was just reserved for your living room, and to actually hear what people are thinking is sometimes… yikes.

Onda: But then, to see photos of little girls dressed up as Ghostbusters in honor of this movie—what does that mean to you?

Hair twins: McKinnon as Holtzmann and “The Real Ghostbusters'” Egon (Photos: Sony)

McKinnon: That means everything. Our primary objective— and I knew Paul Feig’s objective in making this—was just to make a funny movie and a movie that people would love and enjoy to watch, but there was a wonderful side effect of now a girl can realistically put on a Ghostbusters outfit and think that’s just as valid as anything else.

Onda: And you have an action figure now!

McKinnon: I think it’s a mistake. There’s been a crossing of the streams here.

Onda: Finally—politics aside—are you rooting for Hillary Clinton to win the Presidency so you can continue to play this character on “SNL” for possibly 8 more years?

McKinnon: It’s really one of my favorite characters I’ve ever played. I’d like to do it for as long as possible, obviously, because I find her so fascinating and lovable. Especially after meeting her in person and looking into her eyes and seeing how sincerely she wants to make change and help this nation of ours was inspiring. I love the character so much and it’s become a real journey for me and Chris Kelly and Sarah Schneider, the two writers I work with on all of that stuff. We’ve become very involved in her life, and she’s sort of, you know… we think of her as a member of the family, but I’m not sure what she thinks.

See Kate McKinnon in “Ghostbusters” everywhere now. Click here to check show times and order tickets through Fandango.

The post ‘Ghostbusters’ Scene-Stealer Kate McKinnon Is the ‘Unconventional Superhero’ We Need appeared first on Movies.

“Ghostbusters” director Paul Feig with cast members Leslie Jones, Melissa McCarthy, Kristen Wiig and Kate McKinnon (Photo: Sony)

When it came to making the new “Ghostbusters” film, director Paul Feig faced the “most difficult decision” he’s ever had to make in his career.

Was it the decision to reboot the iconic ’80s franchise in the first place? The choice sparked outrage from fanboys who emphatically cried that updating the series would “ruin their childhoods.”

Was it the decision to cast Melissa McCarthy, Kristen Wiig, Leslie Jones and Kate McKinnon in the lead roles? The choice drudged up the ugliest sect of internet trolls who plagued social media with misogynistic insults and critiques.

Or was it the decision to include the 1984 cast members in cameo roles rather than asking them to reprise their original characters? The horror!

While the director most certainly put careful consideration into all three of these decisions (in fact, he turned the franchise down “several times”), the judgement call that really makes him squirm is something far less dramatic: Cutting Chris Hemsworth’s epic “Ghostbusters” dance sequence.

“That was the most difficult decision I’ve ever had to make in my career, to take that out,” the 53-year-old director told me during a recent interview. “It’s awesome and he’s so fantastic and so funny. My first cut of the movie was three-and-a-half hours long. It’s way too much stuff. You’ve gotta make a hard decision. For me, it was like, ‘This is so great, let’s use it in the end credits and we can do it way longer than we would have ever done it in the movie.’ And when the DVD comes out, that scene will be where it belonged. And it’s great, because it’s got full effects and everything. He basically turns Times Square into a disco. I just think it’s a fun way to end a movie. I like when movies end fun.”

Yes, while the internet geekdom suffered over the unsubstantiated belief that Paul Feig would ruin the “Ghostbusters,” the director was only worried about one thing—making sure he didn’t.

Check out my full interview with Paul Feig below:

Paul Feig inspects proton packs on the set of “Ghostbusters” (Photo: Sony)

David Onda: On a base level, why was the “Ghostbusters” story one that you wanted or needed to tell for a new generation?

Paul Feig: I was approached and turned it down several times because touching a classic movie is such a hard thing, but [former Sony exec] Amy Pascal really put in my head, “There’s this amazing franchise just sitting there.” And that’s when I started to go, “Why is this movie so great?” Obviously, it’s ghosts and the whole theme of funny people fighting the paranormal with technology is awesome. But then you go, no, the reason this movie was so great is because those performers were so iconic and so at the top of their game. And then I went, well, here’s this great idea that’s a perfect vehicle for funny people, but we’re 32 years later—I know this whole crop of really funny people who could really shine in this. And since I work with funny women, mostly, they could be great in this. It almost felt wrong to leave that idea sitting in amber 32 years ago. That’s canon. That’s never gonna be touched and that’s always gonna be there. Why can’t we do a new one? And now a new generation will have their “Ghostbusters.” The old “Ghostbusters” still exists for people to love and have been loving forever, but we can do a new take on this.

Onda: How do you go about writing a script for four women who are so good without a script?

Feig: We actually wrote it before we had officially cast anybody, Katie Dippold and I, because we wanted to make sure we could get the characters and the story dynamic right. We definitely didn’t want to do the female Venkman, the female Ray Stantz. We wanted to tell a real story, and the real story is about people trying to find legitimacy, belief—“I believe something that everybody else thinks is crazy.” One person succumbs to being called crazy and goes away, the other’s a true believer and stays with it. And then they’re actually proven right, and because of that they’ve gotta save the world even though people are calling them crazy the whole time. I think it’s a universal theme of appreciation and who you are and finding your place in life.

So then you write a script about that, and then I go, “Ok, who would be perfect for these roles? Who are four different comedic energies that are gonna mesh but aren’t gonna overlap and be redundant?” Once we cast them, we go in and rewrite for their voices and work with them and do rehearsals and find what their take is on it. By the time we hit the set, everybody’s comfortable and goes right into character, but then that’s when the fun begins and honestly that’s when we start really playing with it. That’s where the magic happens, because comedy is all about in-the-moment. You can plan everything you want, but when two funny people get together and they have a weird connection and a weird moment, that’s the stuff people remember. They will talk about the big gags, but they’re gonna love it because of those small interpersonal moments of interaction.

Chris Hemsworth as Kevin in “Ghostbusters” (Photo: Sony)

Onda: And if you didn’t have that, you’d lose brilliant moments such as Chris Hemsworth scratching his eyelid through his eyeglass frames.

Feig: That’s such a perfect example of being in the moment and not being a control freak. We did our first scene with Chris, he came in with these glasses on, because he wanted to wear glasses and we loved the look of it. But I was getting crazy reflections of the lights and the cameras and everything, so I was like, “Take the glass out of the frames. We can’t shoot the scene like this.” So we did, and then we went to the next scene and I think we were off-camera and he reached through and scratched his eye and everybody cracked up. It was like, “Oh, that’s funny. Let’s play with that.” Out of that came a very memorable moment in the movie.

Onda: If fans see this movie in 3D, I think they’ll be extremely impressed. I loved how the effects extend outside of the frame into the letterboxing. Was that always the plan to do that?

Feig: No, that was our stereographer Ed Marsh. He said, “Hey, I have an idea to do this thing, can I just show you a test?” So he showed me one shot of Kristen firing the proton beam towards camera and it went up out of the ratio, broke the frame. And I was just like, “How often and how much can we do that?” It’s so cool.

Onda: When writing the script, how did you balance nods to the original and completely original content. For example, I noticed there was no reference to “crossing the streams.”

Feig: No, it wasn’t. We did shoot it, but then as we had to pair the movie down, we realized it was something we didn’t need.

Onda: And I kind of liked that, because by not including it, it helps this “Ghostbusters” be its own thing.

Feig: Totally. Katie and I are such fans of the original movie. At first it’s like, “Let’s start everything new. Throw out everything else.” Basically it was like, if we went to see the movie and we hadn’t done it, what we would go, “Oh, shoot. I miss that”? The list is pretty obvious: Ecto-1, proton packs, the ghost traps, the slime, the logo, the music. And then you go, ok, here’s the things we kind of want to pay homage to. You’re remaking or rebooting a movie that pretty much everybody knows, at least from a certain generation. Then we go, let’s have fun with how they come into our world. We can show the origin of where the logo came from, where did the Ecto-1 came from, how the proton pack evolves from a giant thing to what they wear on their backs. That was the fun part. Once we had that, we said, “Ok, now let’s create a new story with new characters.

Slimer in “Ghostbusters” (Photo: Sony)

Onda: Is it true you almost didn’t include Slimer?

Feig: Well, yeah. Any time you get into iconic effects characters, you don’t know. We don’t want a look-alike [movie]. Some people already feel like there’s a few too many homages, other people think it’s the perfect mix. You just go, like, “What would we really miss?” Would I walk out of a “Ghostbusters” movie feeling satisfied if I didn’t see Slimer in some way? It really just came down to that. We’d be so bummed if we didn’t see him.

Onda: You just mentioned the split between people’s opinions on the movie. Has the whole experience of making “Ghostbusters” and everything that’s come with it been maddening? You’ve really just been put through the ringer!

Feig: You know what, I completely understand it. I’ve, obviously, publically gotten frustrated a couple of times. I’m not proud of that, but it wears you down after a while. But I understand—this is a classic movie, it’s such a huge part of so many people’s lives and you have to respect that passion. When it manifests itself in ugliness and bullying and anti-woman sentiment, that’s what I always strike out against, especially when it’s attacks against my cast, who I hired. If you’re gonna attack someone, attack me. I’d rather you didn’t attack me, but if you’re gonna, do it to me. Leave Leslie Jones alone. This is a person who’s hugely talented who I hired to play a role. But at the same time, the much bigger majority of people who are concerned, are worried about the rebooting of a classic property that they love. And the only frustration is, because of the internet, people feel like they know what you did before you’ve seen it. I only ask, please, just let it have its day in court.

The whole time, we were just trying to make this really fun movie that gave us the same kind of good time in a theater 32 years ago that obviously these people who were kids—and who weren’t even born and discovered it on home video—had this religious kind of experience. That’s all we wanna do, but we wanna do it for a new generation. And I work with funny women. The Ghostbusters were guys, and clearly women love that original movie, but why can’t they have their own “Ghostbusters”? That’s really a special thing, and that’s where, occasionally when a bunch of middle-aged guys get mad, it’s like, “Dudes, you got your movie. You’ve had your movie your whole life. It still exists. Let a new generation have their own.” I would get sent pictures of 7- and 8-year-old girls who had made their own costume with the orange stripes and the proton pack and they just looked fierce and empowered. That’s what it’s about! It’s not a bunch of other people who are just trying to hang on to the past.

Paul Feig and co-writer Kate Dippold in front of the iconic “Ghostbusters” firehouse (Photo: Sony)

Onda: Now that the movie has been released and you’ve seen that reviews are positive, is it vindication for you and what you’ve done with this film?

Feig: It’s nice, because we’re actually being judged on our own merits right now. It’s nice, but I’m not a vindictive guy at all. I’m just more like… just… just watch it! [laughs] I just hope people can just let go of whatever false controversy—I feel it’s really false controversy.

Onda: Why is the official title of the movie “Ghostbusters: Answer the Call”?

Feig: I didn’t want it to be called “Ghostbusters (2016),” because literally then next year, it sounds like an old movie. So I was like, we have to say something, and [the studio was] the ones who came up with “Answer the Call.” All I said was, “Look, if it’s not on the opening credit, I don’t care.” It’s at the end and that’s fine. It’s literally just for cataloging.

Onda: This new “Ghostbusters” villain Rowan is very interesting in the sense that he is somewhat of a “supernatural terrorist.” It’s sadly very relevant to our world today.
Feig: Yeah, yeah. That’s spot on. That was my goal with that, because I’m a skeptic, I don’t believe in the paranormal, so I was kind of like, “What would be the scariest thing to me?” To me, the scariest thing in the world is what one person can do if they have a terrible agenda and they have access to technology. That’s what I love about the Rowan character. Here’s God’s angry man, who people s–t on, who you’d never notice whatsoever, and suddenly, through their smarts and bad intentions—which they think are good intentions—create havoc and chaos. “Supernatural terrorist” is actually a perfect way to say it.

Onda: If you were watching “Ghostbusters” with an audience and could point out some of the little things you love about it that they might not notice otherwise, what would you point out?

Feig: There’s some interesting cameo stuff that people might not see. I knew Harold [Ramis], because he was directing on “The Office” at the time I was doing it, and I got to have dinner with him a few times and really got to know him and he was so wonderful. I really wanted to do as many tributes as I could. Obviously, we’ve got the one moment where there’s the bust of Harold. Most people notice, some people don’t. Harold’s son is the guy in front of the rock concert who comes up and goes, “Ozzy rocks!” That’s Harold’s son all dressed up like a headbanger. And then when the realtor, played by Katie Dippold, shows the Ghostbusters the firehouse for the first time… if you look closely, there’s a woman standing talking to someone and she’s holding a baby. That’s Harold’s daughter and the baby is Harold’s grandson.

“Ghostbusters” is now open in theaters everywhere. Click here to check show times and order tickets through Fandango.

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Matt Damon and Julia Stiles in “Jason Bourne” (Photo: Universal)

In 1999, Julia Stiles became a household name when she starred in one of the decade’s most iconic teen comedies, “10 Things I Hate About You.”

When asked about the movie that inspired her to become an actress, it should come as no surprise that the 35-year-old actress cited one of the most iconic teen comedies of the 1980s.

“‘Adventures in Babysitting,’” she told me after a moment of contemplation. “I think I kind of have that movie memorized still. It was the first PG-13 movie I was allowed to go and see. Elizabeth Shue—I just idolized her in that movie. It was so fun. Everything from the dancing in the beginning in her bedroom… yeah, she was just so cool in that movie.”

Just as Stiles looked up to Shue, there are certainly young actresses today who have been similarly inspired by Julia’s highly quotable performance (“I want you. I need you. Oh baby. Oh baby.”) in “10 Things,” or her many fan favorite follow-ups such as “Down to You,” “Save the Last Dance,” “Mona Lisa Smile” and “O.”

This weekend, Stiles returns to one of her most popular roles when she plays CIA-operative-turned-rogue-agent Nicky Parsons in “Jason Bourne,” the fourth installment of the “Bourne Identity” franchise. Set several years after the events of 2007’s “The Bourne Ultimatum,” the new film finds formerly amnesiac assassin Jason Bourne (Matt Damon) living a secret life as a bare-knuckle boxer until Parsons emerges from hiding to deliver startling information about his family’s ties to the agency that once left him for dead.

As Bourne soon reappears on the CIA’s radar, the organization’s director Robert Dewey (Tommy Lee Jones) and his hungry underling Heather Lee (Alicia Vikander) devise opposing plans to bring him in dead or alive.

For more on “Jason Bourne,” check out my full interview with Julia Stiles below:

Heath Ledger and Julia Stiles in “10 Things I Hate About You” (Photo: Buena Vista)

David Onda: I heard Matt talk about how the “Bourne” franchise seems to follow him and people are constantly asking when he’ll make another sequel. Which film or films follow you around?

Julia Stiles: I will second that and say that it was really interesting for years to have people stop me and ask when we were gonna make another Jason Bourne movie, and when we finally did, it felt special because it felt like it was the right timing and there was in an interest in a sequel. It depends on where I am, but I think it’s really special and people seem to get animated and excited when they remember “10 Things I Hate About You,” and it feels really special to be a part of a movie that people are still interested in many years later.

Onda: There are so many thrillers and action films released each year, yet the “Bourne” franchise is always a hit with both critics and fans at the box office. What makes this series so special?

Stiles: I think that Paul Greengrass, in particular, has a knack for making an entertaining action movie that’s fun to watch, but also keeping it really timely and relevant. His own interest in what’s going on in the world informs how he tells a story. In this installment, he was sending me books about social media and how social media is effecting revolutions all around the world as background information for what we were about to go and shoot. And that was really the reason it took a while to make the movie, because he was looking for a story that was compelling and also confronting what is going on all around the world. I think that’s something that resonates with people.

Onda: Each film brings a new angle to Jason’s story. What sets “Jason Bourne” apart from the previous installments?

Stiles: For me, in terms of what I get to do in the movie, the biggest difference is that in “Bourne Ultimatum,” [Nicky] was left on the run and in hiding, so this time around we really get to see her matured and a lot more rebellious. She’s gotten involved with anarchist hacker groups and uncovered a lot of new information about the Treadstone operation that Jason Bourne was created under, so we see a more authentic version of her than somebody who is just a good soldier for the CIA, taking orders.

Julia Stiles ready for action in “Jason Bourne” (Photo: Universal)

Onda: Was it always the plan for the Nicky character to return for more the sequels?

Stiles: Nobody really knows going in to any movie if you’re gonna make sequels or not, most of the time. But in “The Bourne Identity,” my character in the original version was killed. She was thrown up against a wall and her neck snapped. For whatever reason, they decided to recut it so that Nikki got to survive and, lucky me, I got to make some sequels. Doug Liman directed the first one, so I’m not sure what the reason was, but I was really happy about it.

Onda: In each of these films, you get to see a little more action. Do you mix it up a little more in “Jason Bourne”?

Stiles: I was very happy that I’m out in the field, so to speak, in this one. In “Bourne Supremacy,” I was sent to go meet [Jason] in the middle of Alexanderplatz in Berlin, but for the most part, Nikki in the past had been in the CIA headquarters inside. And so I’m happy to be out in the middle of chaos.

Onda: It’s only been 14 or 15 years since “The Bourne Identity,” but the filmmaking process has drastically changed since then. Can you compare the processes of making the original film and this new sequel?

Stiles: First of all, you say “only 14 or 15 years,” but that has been my entire adult life, so that seems like a good chunk of time for me. [laughs] On these movies, we generally have the luxury of reshooting things. If we wanna revisit a scene, we will. There was a [“Bourne Supremacy”] scene in the subway, I believe, where I was held at gunpoint, and I remember we had to reshoot it because something happened to the film—literally film—on the way to the lab, which doesn’t happen anymore because it’s all digital. Also now, technology has grown a lot in the sense that now we have something called an animatics, which instead of a storyboard is a cartoon picture of how a scene’s gonna be shot, there’s an animated cartoon version of a scene. It’s kind of amazing.

Matt Damon in “Jason Bourne” (Photo: Universal)

Onda: How has Matt changed over the years?

Stiltes: He hasn’t. His family has grown and he has a few more grey hairs, but he’s very much the same person, as far as I can tell, at his core. His career has been amazing in all this time and he has to walk around with security guards now, but he’s still very humble and very hard working and fiercely intelligent and interested in things outside of his own life, so it’s very remarkable to see.

Onda: I’ve enjoyed seeing you do more comedy, like “The Mindy Project” and “Inside Amy Schumer.” What drives the role choices you make at this stage of your career?

Stiles: I think I’m a little more thoughtful about my choices these days, more than when I was in my 20s. The comedy stuff is just because it’s so fun. Amy Schumer, I was a big fan. I met her, and when they asked me to be on the show, I jumped at the chance because it’s a day out of my life and it’s a lot of fun and cool to be a part of. For longer-term commitments, I think more about it taking me away from home or the people I’m gonna be working with, particularly. One of the wonderful things about “Jason Bourne” and that franchise is getting to work the same people sporadically and over the course of many years. I’m not so keen on having to get to know a whole group of people. I think it’s also more the time commitment. If it’s a longer commitment, then I wanna know it’s gonna be something that I’m excited to go and work on every day.

See Julia Stiles in “Jason Bourne,” now playing in theaters everywhere. Click here for showtimes and to order tickets through Fandango.

The post ‘Jason Bourne’ Star Julia Stiles: The Movie That Made Me Want to Be an Actress Is… appeared first on Movies.

Mila Kunis, Kristen Bell and Kathryn Hahn in “Bad Moms” (Photo: STX)

“Bad Moms” stars Mila Kunis as over-worked, over-stressed, super-mother Amy Mitchell. When Amy finally reaches her breaking point, she sets out to buck the expectations of motherly perfection.

Joining Amy on her liberating, grocery store-destroying journey are two similarly strained matriarchs—Kiki, played by real-life new mom Kristen Bell, and Carla, played by fiery comedic force Kathryn Hahn (“Step Brothers”).

“Carla Dunkler is a single mom who is kind of liberated from the shackles of shame or guilt about wanting to take care of her own desires and wants and needs,” Hahn told me during a recent interview. “She certainly does not hesitate to do so. It was crazy fun and felt really cathartic to be able to play that kind of a human.”

Not everyone approves of Amy, Kiki and Carla’s self-indulgent ways, however, and those women are a trio of “perfect” moms named Gwendolyn (Christina Applegate), Stacy (Jada Pinkett Smith) and Vicky (Annie Mumolo).

“I play Vicki Latrobe. She’s not a very intelligent woman,” Mumolo, best known as co-writer and -star of “Bridesmaids,” explains with a laugh. “Christina is the sort of mean mom, the alpha mom. I play one of her wing women, minions. Basically I just kind of follow her around trying to be like her and do whatever she says, but maybe I might belong in the other group and don’t really know it.”

The feud between Amy’s disgruntled gals and Gwendoline’s menacing mamas comes to a head as both women square off for head of the PTA.

Christina Applegate, Jada Pinkett Smith and Annie Mumolo in “Bad Moms” (Photo: STX)

For more on “Bad Moms,” check out my full interview with Kathryn Hahn and Annie Mumolo below:

David Onda: When you first read the script for “Bad Moms,” what was it about this movie that stood out as something special?

Kathryn Hahn: I think how relatable [it is], just the voice of it—which is ironic considering it was written by two amazing gentleman. It just felt so specific and so hard and Technicolor in a way that I was so excited. You don’t really get to see moms portrayed in a ways that aren’t kind of bathed in this saintly glow. It was fun to do that.

Annie Mumolo: It was moms talking like they’re actually women with many levels and layers. I feel like they talk like how I talk with my friends, without so much of… I mean, we’re not that blue, but we’re pretty blue.

Hahn: It’s such an escape. It’s such a great escape movie, and it feels like a wish fulfillment for so many moms. I know if I was not in this movie, I would want to sit in a theater after a glass of rosé and watch it.

Onda: The characters in “Bad Moms” are exaggerated to some extent, but will mothers and fathers who see the movie recognize these types of moms in their real lives?

Mumolo: I think they will! I definitely related to it. In fact, I think sometimes you could see yourself in more than one character. I’ve always wanted to go to a supermarket and just rip the s—t out of it. I don’t like going to the market, do you?

Hahn: No! I usually pass the buck or wait until it’s so late that I have to get everything in bulk. I hate it.

Mumolo: Mila’s character, in particular, and Kristin’s character, they’re overwhelmed—that’s such a common thing for so many of my friends and myself. There are so many expectations and things you feel like you have to live up to and to be able to buck that is so fun.

Hahn: I think I was definitely a combination between Kiki and Amy as a young mother. There’s so much pressure put on moms, especially with all these ideals of “having it all.” There’s all these blogs and advice, but there’s also just so much judgement, and none is worse than what you put on yourself as a mom and you feel like you’re failing at every turn. There’s this idea that you can have it all, but no one really tells you that it’s not possible to have it all be perfect. You can do it, but it’s not all gonna look the way you want it to.

Bell, Kunis and Hahn toast to being bad in “Bad Moms” (Photo: STX)

Onda: All the lead actresses in this film are moms. Some of you have been moms for several years, while Mila is a new mom. How does that dynamic play out on the set?

Hahn: She’s so fresh-faced and gorgeous at this point with a 21-month-old. So, give her six years. I was really impressed, because my kids are a little bit older and so are Annie’s. I remember going in the hair and makeup trailer and seeing her with her daughter and Kristen with her daughters, who are both really young, and being incredibly impressed with how they’re managing being mommies and working. I was really blown away by the grace. I feel like I was sweaty, tooth paste dripping down my shirt, kids’ hair in dreadlocks. They’re both incredible mommas.

Mumolo: My kid’s old enough now to tell me, “Mom, you shouldn’t leave the house like that.”

Hahn: Yeah, she looks at me and she just says, “Terrible.” If I try to make a joke: “Terrible.” What are we gonna do when they’re in high school?

Onda: What is your ultimate kid-free, night-to-yourself activity?

Hahn: Oh my god, so many drugs and so much porn. That I’m making. That’s when I’m making my amateur porn.

Mumolo: We have the same dream night!

Hahn: We have got to get together every Wednesday—once a month, let’s not kid ourselves, we don’t have the time. Once a month, on a Wednesday, we just get together and make some porn. We’re the same women we were before having children.

Mumolo: Yep.

Hahn: I love looking at any sort of real estate on the internet. Other people’s homes give me a great amount of pleasure. Other people’s clean, beautiful lives gives me a lot of pleasure.

Mumolo: I look at interior designs, because my house needs a lot of help. I don’t have a cool house.

Hahn: Sometimes, I’ll be like, “Oh, f—k it, I deserve it,” and I’ll just buy a lot of clothing and I’ll feel guilty and return it. Like an idiot.

Mumolo: I buy rugs. I buy rugs and they don’t work and then I have to roll them up.

Hahn: I bought a $45 broom. Like a d—k. Like an idiot. A fancy broom, like an old Amish broom.

Bell, Kunis and Hahn enjoy a movie in “Bad Moms” (Photo: STX)

Onda: You all appear to be having so much fun in “Bad Moms.” Can you tell me about one of your favorite scenes?

Hahn: Letting us off-leash in a grocery store all day was really, really fun. That was just awesome. To just do anything. I was like, “So anything is game?” There were a lot of parts that we couldn’t even keep, like chucking frozen hams at each other. That felt very, very cathartic.

Mumolo: I had a 104 fever through the entire shoot, so [I was just] living, surviving. Christina sent me this big box of healing alcohol. It was hot toddy mix, so I just went straight to the whiskey. It was a terrible, terrible, terrible illness.

Hahn: We’re still not sure who Patient X was, but it really went through everybody. We’re all moms, so it was a bunch of petri dishes. It was January in momdom, so that’s prime time for that to go through.

Onda: Are only moms going to enjoy this movie, or is “Bad Moms” a good time for anyone?

Hahn: I think anyone that’s had a mother or knows a mother. I think it appeals to everybody. I think it’s just a very awesome, funny, cathartic roar. It’s just a really, really fun summer movie.

Mumolo: It extends beyond being a mom. It’s just a fun story about someone getting liberated. It’s a wish fulfillment story.

Onda: Finally, Kathryn, wow often do people approach you and say, “Stay golden, pony boy”?

Hahn: Not often enough! Although my son was very confused when somebody said that to me once, and I was like, “I don’t even know how to explain it to you.”

“Bad Moms” is now playing in theaters everywhere. Click here for more information and to order tickets through Fandango.

The post ‘Bad Moms’ Stars Kathryn Hahn and Annie Mumolo Reveal Their Ultimate Kid-Free Night appeared first on Movies.

Looking for entertainment? Watch Hollywood’s biggest new releases from the comfort of your home by accessing the XFINITY On Demand Movies section of your guide.

What’s new this week? Click the titles below to see previews of these fresh flicks:

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The post New Movies Available with XFINITY On Demand (8/2) appeared first on Movies.

The cast of “Don’t Think Twice”: (top left to right, clockwise) Mike Birbiglia, Kate Micucci, Chris Gethard, Gillian Jacobs, Keegan-Michael Key and Tami Sagher (Photo: Film Arcade)

Since its debut in 1975, “Saturday Night Live” has traditionally plucked its talented cast members from the rosters of the countries’ most esteemed improv comedy troupes—most notably Second City and Upright Citizens Brigade.

In the new movie “Don’t Think Twice,” comedian and filmmaker Mike Birbiglia (“Sleepwalk with Me“) explores the dynamics between six New York City improv performers when one of their own gets the biggest gig in comedy.

Birbiglia stars as Miles, a frustrated improv comedy teacher who’s watched several of his own students ascend to dream jobs at “Weekend Live” (the film’s “SNL” stand-in), but has never been able to grab the brass ring for himself. Miles is also a member of a popular improv troupe called the Commune alongside comedians Jack (Keegan-Michael Key), Samantha (Gillian Jacobs), Allison (Kate Micucci), Lindsay (Tami Sagher) and Bill (Chris Gethard).

Just as the Commune’s future is put in doubt by the impending closure of their performance space, one of the group’s members is chosen to join “Weekend Live,” giving hope to the others that they now have an inside track to similar stardom. When it becomes apparent that their chances of getting “called up” are slim to none, the comedians face an uncertain future, as well as their own feeling of jealousy, resentment, self-doubt and failure.

“Don’t Think Twice” hilariously depicts the quirky world of improv comedy while earnestly dissecting the standards of American success—what does it mean to be successful, and does success equal happiness?

I recently sat down with Mike Birbiglia, who directed and co-wrote “Don’t Think Twice,” as well as Gillian Jacobs and Chris Gethard to uncover 5 and 1/2 things you need to know about the film and its cast:

1. An Observation Inspired Mike Birbiglia to Make “Don’t Think Twice”

Birbiglia and Micucci in “Don’t Think Twice” (Photo: Film Arcade)

“My wife came to an improv show that me Chris and Tami and, I think, Ellie Kemper and Aidy Bryant and a bunch of excellent improvisers [were performing],” Birbiglia recalled. “My wife made this observation that it’s so interesting that, on stage, everyone is equal—the principles of improv dictate that everyone’s equal—but in real life, that person’s a movie star, that person’s on “SNL,” that person lives on an air mattress in Queens. And it just hit me like a train that not only is that a great observation, but it’s a movie. I could just see a whole movie, a ‘Big Chill’-type movie where it’s about your friends and not everybody makes it.”

2. No Improv Experience? No Problem. Gillian Jacobs Still Wows

“Gillian had not done improv before we started that movie, and then there’s pivotal scenes where she’s carrying the improv and a lot of that is actual improv,” Gethard explained. “I’m not good at many things, but I was a really good improv teacher for years, and she figured out more in three weeks than I saw some students figure out in the course of 2-3 years. Now that I’ve seen the movie a number of times, I realize how hard that was and how scary that must have been. To make a movie about a culture and put the responsibility of anyone who’s most in love with that culture and a prodigy of that culture on the shoulders of a person who’s done it the least is a hard thing to ask. She does it so convincingly.”

Birbiglia added: “I’d like to direct Chris’ comments to the Golden Globe voters, because it’s about time that the Golden Globes nominated a comedy actor for the comedy actor f—cking category.”

3. “SNL” Is Still Comedy’s Brass Ring… for Better or Worse

“I think it’s fair to say that, for people in the comedy scene, [‘SNL’] feels like the only job for a while,” said Gethard, who very briefly wrote for the show in 2007.

“It’s the only thing your parents have heard of,” Birbiglia quipped.

“Starting with the first cast coming out of Second City, it’s an established thing of—you’ll go to one of these theaters, and if you do good you’ll get on one of their house teams, and then they’ll start putting you up on the weekends, and then you’ll start getting scouted for commercials and then you’ll get ‘SNL,’” Gethard explained. “It’s a very clear path that many people have walked, but I think for a lot of people who show up in the improv world who aren’t necessarily trained actors or insiders, it feels like the only job when you’re starting out.”

“It feels like the only hierarchy or system in place,” Birbiglia added.

“It’s the only thing you can see from the day you sign up, like, ‘Oh, that’s a possibility,’” Gethard said. “What happens is a lot of people tunnel-vision in on that and it becomes this massive thing in their mind and you eventually realize, ‘Oh, no, there’s a thousand writing jobs and acting jobs.’ And that’s still not many, but I think people tend to romanticize it more than any other job in comedy.”

4. “Don’t Think Twice” Stirred Up Some Stuff in Chris Gethard

Gethard does stand-up comedy in 2015 (Photo: Bryan Bedder/Getty)

An Upright Citizens Brigade star himself, Gethard has watched several friends and colleagues make the jump to “Saturday Night Live.” Needless to say, reliving that experience was not therapeutic.

“Sadly, I would actually say, almost the opposite,” he explained. “I think I did real therapy and had put a lot of this stuff to bed, and it churned up a lot of feelings. It was very interesting to have lived through stuff that was very similar to this in 2007, 2008, 2009… 2010.”

“2016?” Birbiglia quipped.

“No, I would say that stretch was when things were at their most panicky for me, 2007-2011,” Gethard continued. “There were a lot of times where, in reading the script and doing these scenes, where I would sort of remember some of the panic, some of the painful feelings and then also look back at my own behavior and realize how unfair it was to myself and my friends and how much stress I put myself through that was unnecessary. Doing this movie gave me many twinges of regret realizing that if I had been able to set aside my own ego, I just would have had a happier life. But that’s all part of growing up. I don’t think it’s the kind of thing you can learn. You can’t just tell yourself, ‘Hey, get out of your own way, keep working hard and put your head down and things will work out.’ It’s very hard to believe when you’re feeling like you’re in the process of failing slowly, publicly.”

5. You Don’t Have to Be an Improv Comic to Relate to “Don’t Think Twice”

“Even though I don’t come from an improv world, it kind of paralleled my experience at Julliard,” Jacobs told me. “For me, growing up as a kid acting, Julliard was the brass ring—getting into an acting conservatory. Because I knew at the end of that, you would be put in front of agents and casting directors and it was the easiest way to get representation, and I was very afraid of moving to New York or L.A. without that, which a lot of people do and do successfully. To me, that seemed incredibly intimidating. Once I got there, I realized getting into Julliard wasn’t the hard part, it’s gonna be staying here, not getting kicked out, succeeding in it.

“It’s also a very claustrophobic environment there. There were 15 people in my class, you don’t really interact with too many other people, so in some ways it mimics what it’s like to be on an improv team. We never auditioned for plays once we were there. Our casting in plays was just sort of tacked up on the board. We were assigned parts. There were feelings of jealousy and competitiveness. You’re all stuck together and, like improv, it’s all about ‘the group.’ We’re told that we’re supposed to be this unit, but what happens when you don’t really get along? My group was far more contentious than the movie group is. We really had a hard time just being in the same room together. We were there from 9 a.m. to 11 p.m. and you don’t get to choose any of your classes. Even your electives are chosen for you, so every minute of your day is scheduled for 4 years. When I meet another actor who went to Julliard, it’s like, ‘I know. I know what you went through.’ I related to the script very much in terms of that experience.”

Jacobs in “Don’t Think Twice” (Photo: Film Arcade)

5 and 1/2. You Can Pick a Chris Gethard Fan Out of a Crowd

“When [Chris] and I go on tour together, I pick out his fans in the lobby,” Birbiglia said. “‘Hey, Chris, one of yours is coming.’ They’re always broken in some way. They’re often missing limbs, they have tattoos, they’re limping. You can see that they’re broken in their eyes. I’m always like ‘Chris, that’s one of yours’ and it’s a running joke we have because I’m always right.”

“Generally it’s on target,” Gethard confirmed. “My fans are cult fans. I have very few, but I think they would kill for me if I asked for them.”

“Don’t Think Twice” is now playing in select theaters. Click here to check show times or purchase tickets through Fandango.

The post Mike Birbiglia’s ‘Don’t Think Twice’ Hilariously, Earnestly Challenges the Ideals of Success appeared first on Movies.

Simon Helberg, Hugh Grant, Meryl Streep and John Kavanagh in “Florence Foster Jenkins” (Photo: Paramount)

In the 1940s, New York socialite Florence Foster Jenkins self-funded her opera career while blissfully unaware that she was, in reality, a horrible singer. Despite attempts by her closest allies to hide her lack of vocal talent from the public, she became an unwitting star after recordings of her tone-deaf performances hit radio airwaves.

While this synopsis may sound like the brainchild of a clever Hollywood screenwriter—or the plot of an early 2000s FOX reality series—it is the very real and unbelievable true story behind Meryl Streep’s new movie “Florence Foster Jenkins.”

And according to the film’s co-star Simon Helberg (“The Big Bang Theory”), the details of Florence’s life and unlikely stardom after the age of 70 get even stranger with research.

“She played Carnegie Hall and sold out faster than Sinatra,” Helberg told me during our recent interview. “And she was the biggest-selling artist for Melotone Records.”

Even the tales of her personal life are packed with peculiar notes on her various quirks and obsessions, such as a love for a certain mayo-based picnic side dish.

“She did fill a bathtub with potato salad,” Helberg revealed. “Somebody said they went to a party and they saw it… as well as the chairs that famous people had died in lining her entryway and her fear of pointy objects and all of these idiosyncrasies. There’s so many of them.”

Jenkins’ pursuit of opera greatness was enabled in part by her common-law husband and manager St. Clair Bayfield (played on-screen by Hugh Grant), a moderately successful Shakespearian actor who was chief architect of a system that paid off the press, audience members and collaborators to protect Florence from her own shortcomings.

Streep and Helberg record as Jenkins and McMoon (Photo: Paramount)

“I kept thinking, ‘How bad can this voice be?’” Helberg said of a time before he heard the real recordings of Jenkins’ songs. “And you put it on and it’s sort of delightfully bad. You don’t want to turn it off right away. You kind of want to keep hearing it, because she’s so close to getting it right.”

Among Florence’s discreet acquaintances was Cosmé McMoon (Helberg), a talented young pianist who was hired to accompany Florence during her opera lessons and, later, performed for her studio recording sessions and ill-advised concerts. Keeping up with Jenkins’ butchered notes, garbled lyrics, tempo changes and lack of rhythm was no easy feat for McMoon—nor was it for Helberg, who skillfully performed all of the film’s piano music live to Streep’s ear-piercing tunes.

For more on “Florence Foster Jenkins,” check out my full interview with Simon Helberg below:

David Onda: How much of Florence and McMoon’s stories were you familiar with before making this movie?

Simon Helberg: Nothing, when I read the script. And then I tried to learn before the first day of shooting. I’ve always been fascinated by people that are deluded or, in spite of their own misconception of who they actually are, manage to transcend the odds. Like Ed Wood or all of these odd people. Their intention is far from what ends up being the result, and yet it doesn’t stand in their way. It’s a very simple-minded purity. It felt familiar, but I hadn’t ever heard her music, and there’s not a lot of information about any of them—particularly Cosmé McMoon—so it was lucky that the script was brilliant and you can pluck little odd facts that did exist.

Onda: How did you go about piecing together the mannerisms, personally, voice and other elements of the McMoon character?

Helberg: There were these little facts that existed—and some were not in the script—but mostly I took it from the script. He was born in Mexico and moved to Texas very early on and then to New York as soon as he was 18. He was Irish, but McMunn was their last name and, in Spanish, it sounded like McMoon. I thought, “Well, that’s gonna make someone slightly alien and probably somewhat of an outsider.” It’s implied that he was gay, and I thought, “Maybe he doesn’t know it.” At a time when it was forbidden and illegal, how would these things manifest physically in him. I thought of people that haven’t come into their own and haven’t grown into their body yet. And then I just kind of envisioned him a certain way. I thought about Peter Sellers in everything from “Being There” to “The Party” and all these characters he plays that are very simple. Sometimes they’re either an accidental genius or an overconfident idiot, basically. There’s a purity to the characters Peter Sellers played, and I thought Cosmé has that purity and this absolute suspension of judgement and cynicism. What would it be like to have a look in his eye like he knows something wonderful about you? Maybe he’s thinking about nothing, like a gecko with his neck fully exposed and his eyes wide open. I tried to put it together and [director Stephen Frears] never told me to stop.

The real-life McMoon had interest in amateur bodybuilding (Photo: Paramount)

Onda: Tell me about the first scene you shot with Meryl Streep singing in the awful ways she does for this movie. How did you keep a straight face?

Helberg: We had about a week and a half to really drill the music. In doing that, we recorded at Abbey Road, which was a dream come true, and we got a lot of giggles out there in this holy shrine of music and desecrating it with our versions of these songs. And then they ended up saying, “Ok, great, we have that, but we’re gonna do it all live. We’re gonna shoot all the music live and you’ll play and she’ll sing. We’ll set up enough cameras and we’ll hook the piano up separately.” They wanted to capture it live, and I think because of that, not only does it feel electric and authentic, but it also forced us to have to really work to get through these songs. Even if the camera was on my face, I was playing, and I felt it was a big job to get through some of these songs. I didn’t really ever have an opportunity to laugh at how hilarious it all was. I just watched her, and that’s what it is in the movie. I’m just watching her be Meryl. I had a front-row seat. I’d get lost sometimes just watching her, because she’s so great.

Onda: It might come as a surprise to people, but it’s not easy to sing that badly. And it’s not easy to adjust on the piano to the many changes she makes while singing.

Helberg: No. Cosmé had a hard job. First of all, it was scary because I was supposed to be the “good one.” What she’s doing, I think, is actually harder in many ways than what I’m doing, or even than singing well. To sing like that, you actually have to have both in your head—you have to have the good version and know how to dance around the good version. He had to play so well that he was able to compensate for her dropping a measure or coming in too early or forgetting where she was. Sometimes he would change keys to make her sound better. To know the music well enough then for me, as an actor, to be able to play with it was crazy. I did have to drill it backwards and forwards as best I could do, and then when we got together, we really kind of did that thing. We really ended up playing off of each other, and it actually became really fun because it was so precarious. He was a great musician. You’re not supposed to do that kind of heavy lifting.

Streep, Helberg and Grant in “Florence Foster Jenkins” (Photo: Paramount)

Onda: Was there anything about Meryl that surprised you?

Helberg: What surprised me about Meryl is the humility and the level playing field that she kind of sets up. It’s on her, because everybody is just looking at this goddess and people are tripping over themselves. She actually has more of a responsibility than she should have to have. She has to kind of put everybody at ease. You want the movie to feel collaborative. We’re all telling a story. And she does it. I was surprised to see how effortlessly she ingratiates you into her world and how disarming she is and, also, that she’s a little scared too, just like all of us. It’s very vulnerable doing what we get to do, and we’re very lucky we get to do it, but you never know how it’s gonna turn out. If you are looked at as the greatest actor of all time, imagine the pressure there. That was interesting to see. In some ways it gets harder. Do these people just look at themselves in the mirror and go, “Well, thank god I’m Meryl Streep, because I’m gonna go in and I’m gonna be brilliant today”? It was a very warm, unbelievable experience.

Onda: Florence and McMoon form an unexpected relationship throughout the course of the movie. Aside from music, where do they find common ground?

Helberg: When you see the scene where she comes over to his apartment and cleans his dishes, there’s an element of something maternal there. What I see is these two lost [people]. Bayfield is off doing what he does, and so I think she feels somewhat lonely. And there’s this other guy, who’s also a bit out of his element and a bit of an oddity. They find, in that scene, “Hey, we both maybe never had any place in this world but through music.” And she’s got a deformity on one hand and she can’t play, and he literally becomes the other half of her. Aside from music, I think there is sense of loneliness and a struggle to kind of find your purpose.

Onda: Where was the Carnegie Hall scene shot?

Helberg: At the Apollo Theatre in London. They recreated it as best they could, and then they did a lot of green screen stuff from above. The first 10 rows or so were people, and then they green-screened up into the rafters to create the look of Carnegie Hall up top. The stage was built.

Helberg as McMoon in the faux Carnegie Hall (Photo: Paramount)

Onda: So you actually performed, more or less, in front of an audience?

Helberg: Yeah. And that, again, lends itself to the authentic panic and terror that might come along with that, because we really did. Meryl wanted to shoot the audience first when we shot Carnegie Hall, in order to get an authentic reaction from them. They tend to shoot the principals before the shoot the extras, but that means they would have sat there for 10 hours while we did all the music, and by the time we turn around on them, they would have probably been asleep. So she thought, “What if we shoot them first?” We basically did an off-camera concert for 300 people, which was really anxiety inducing for both of us and shows how central the importance for Meryl is in telling the story and not about anything else—to do an off-camera concert first thing in the morning in order to get the best reaction shots from the background. She sees in almost 360 degrees the process of making a movie.

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