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House of Gucci Screenwriter Roberto Bentivegna Talks Truth vs Fiction
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                    [title] => House of Gucci Screenwriter Roberto Bentivegna Talks Truth vs Fiction
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                    [pubdate] => Thu, 25 Nov 2021 18:42:47 +0000
                    [category] => TrendingBentivegnaFICTIONGucciHouserobertoscreenwritertalkstruth
                    [guid] => https://debatepost.com/house-of-gucci-screenwriter-roberto-bentivegna-talks-truth-vs-fiction/
                    [description] => Adam Driver (Maurizio Gucci) and Lady Gaga (Patrizia Reggiani) in House of Gucci MGM Roberto Bentivegna felt an immediate relationship to the real-life story in Ridley Scott’s latest movie, House of Gucci. The film, based on the book The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed by Sara Gay Forden, ... Read more
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Adam Driver (Maurizio Gucci) and Lady Gaga (Patrizia Reggiani) in House of Gucci MGM

Roberto Bentivegna felt an immediate relationship to the real-life story in Ridley Scott’s latest movie, House of Gucci. The film, based on the book The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed by Sara Gay Forden, had been in development for several years when Scott and his wife and producer Giannina Facio approached Bentivegna to pen a new version of the script.

“I had written something else they had read—that was completely unrelated,” Bentivegna recalls, speaking over Zoom from London. “They’d been trying [to make] House of Gucci for so many years with a lot of different writers and it never came together. I have a personal connection to the story because I grew up in Milan and my mother is a fashion designer. I used to play two doors down from where Maurizio was murdered. I knew the story very well. It was one of those kind of perfect marriages of ‘Here’s a job’ but also it never felt like a job. This felt I had nothing to lose and I could really go crazy with it and do something very unique and very different.”

House of Gucci follows Patrizia Reggiani, played winningly by Lady Gaga, as she meets and marries Maurizio Gucci (Adam Driver), becoming part of the Italian fashion brand’s family dynasty. After the marriage crumbles Patrizia hires two men to murder Maurizio—an act of violence that actually took place. It’s a stranger-than-fiction tale, with a lot of dramatic players and events, but Bentivegna, who is co-credited for the screenplay with Becky Johnston, felt the best way in was to showcase the story from Patrizia’s point of view.

“The touchstone I thought of was Sunset Boulevard and I thought of that movie specifically in terms of point of view because it’s such a strange film,” he explains. “The character you remember is Norma Desmond, but it’s actually William Holden’s movie. He takes you through the story, with his voiceover and everything. So I thought about twisting that dynamic around and having Norma Desmond essentially be the protagonist in what would be this movie. That was a very helpful through line. And the other thing was making it a fashion gangster movie, in a way. Patrizia’s almost like a Tony Montana—this big gangster who just doesn’t give a fuck and bulldozes her way through thirty years. And obviously, in the end, she bulldozes over herself.”

To write the script, Bentivegna did extensive research beyond Forden’s book. Because the screenwriter speaks Italian, he was able to go into the archives of Italian newspapers and read what people had written about the family in the 1970s and 1980s. “It’s just interesting to see how the opinion changed over the years,” he notes. “Obviously now we think of Gucci as this incredibly luxurious, extravagant brand. But to read about the family in the ‘70s, with Aldo [Gucci] being arrested for tax evasion and Paolo [Gucci] trying to start his own line and fucking it all up. People were writing about it in a way that was almost like tabloid fodder.”

Bentivegna elected not to speak with any members of the Gucci family because he wanted to avoid feeling like he was forced to serve their bias in any way. He sees his script as a work of “creative speculation” rather than an exact history. The goal was to dramatize rather than sensationalize, although Bentivegna confirms that much of the film is based on truth.

“I think, generally speaking, I was quite faithful,” he says. “There were a few things I changed. For example, Guccio Gucci had three sons and a daughter, and for dramatic purposes I thought it was a much cleaner thing to have Rodolfo, played by Jeremy Irons, and Aldo, played by Al Pacino, and give them two sons and created that father/son dynamic. Little things like giving Maurizio and Patrizia one daughter instead of two. In real life there’s two daughters, but I’m an only child and I always felt like when my parents argued it was particularly heavy. You felt that weight of the family stress on your shoulders, so that really helped me.”

Although Bentivegna is fluent in Italian, the screenplay was written solely in English. Any additions of Italian, as well as the actors’ Italian accents, were creative decisions made during production.

“I wanted it to sound as witty as possible,” Bentivegna explains. “If you write for someone who doesn’t speak English as their native language obviously they’re not going to be as witty as somebody whose first language English. So I didn’t want to write in broken English because that would be a weird thing. I just wrote it as though they were English speaker. I left that choice to Ridley and the actors to figure out where they wanted to go with it.”

Another creative choice made on set was Lady Gaga’s now iconic line “Father, Son, and House of Gucci,” which blew up on Twitter when the film’s trailer first dropped. Gaga actually ad-libbed the line on the day.

“I have to admit I didn’t write that,” Bentivegna laughs. “I wish I could say I did! I think in the script she just crosses herself. But that’s the genius of having someone like her. She’s a genius. She can come up with these things and make it look easy. Jared [Leto] also had quite a few contributions. His line about shit and chocolate, when he says ‘Trust me I know the difference.’ Honestly, they were very faithful to my script, which is wonderful. I only take it as a compliment that they went off and riffed and felt comfortable with it. It means they were inspired by it and they had all these ingredients they could cook with.”

House of Gucci Interview
Al Pacino in Ridley Scott’s House of Gucci MGM

In many ways, House of Gucci is a character study of Patrizia, who finds herself immersed in the Gucci family drama and soon begins to meddle. It was important for Bentivegna to take a balanced approach to her characterization—the audience needs to like her enough to follow her through the story, but she’s also a murderer.

“I remember reading an interview with Paul Schrader about Taxi Driver that always stuck with me,” Bentivegna says. “He was talking about how if you put yourself in the shoes of a character for maybe 30 minutes in a movie, if it’s told from their point of view, something happens with the audience where they almost transcendentally go into that person’s mind. Inevitably, they’re attached to them emotionally. I always thought about that. Obviously this is not as much of a first-person perspective as Taxi Driver, but there is an element of seeing the world through her eyes. You are with her the whole way. With her, it was about giving enough motivation and humanizing her without falling into cliches about sympathetic protagonists. She is who she is. But it’s a question of understanding why she did what she did and making it relatable in some way.”

Following his experience on House of Gucci, Bentivegna is adapting Jo Nesbo’s novella The Jealousy Man into a feature for Amazon, with Will Oldroyd, best known for helming Lady Macbeth, attached to direct. Working on House of Gucci has opened a door for the screenwriter, both professionally and creatively, and he feels like he’s learned how to bring his own experiences into his writing in a way that makes them universal.

“That idea of ‘write what you know’—I was always a little skeptical of that,” Bentivegna reflects. “It’s so limiting. It’s kind of sad to think you can only write about the things you know or have lived. It doesn’t feel very creative. But in this case that really was true because my connection into the story and the world and its specificity was such a big deal. Even the moment when Maurizio feeds Patrizia the hot pocket in front of the Duomo—those are called panzerotti and I used to eat them with my dad every Sunday. It was a ritual. Putting these details in a story, in a script, it gave it a personal connection. In this context, the write what you know thing really does apply. I’m not sure if it applies to everything. You can totally write something you know nothing about and learn along the way, but in this case it’s proof of that pudding.”

House of Gucci is now playing in theaters.

‘House of Gucci’ Screenwriter on How He Wrote a ‘Fashion Gangster Movie’

) [summary] => Adam Driver (Maurizio Gucci) and Lady Gaga (Patrizia Reggiani) in House of Gucci MGM Roberto Bentivegna felt an immediate relationship to the real-life story in Ridley Scott’s latest movie, House of Gucci. The film, based on the book The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed by Sara Gay Forden, ... Read more [atom_content] =>
Adam Driver (Maurizio Gucci) and Lady Gaga (Patrizia Reggiani) in House of Gucci MGM

Roberto Bentivegna felt an immediate relationship to the real-life story in Ridley Scott’s latest movie, House of Gucci. The film, based on the book The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed by Sara Gay Forden, had been in development for several years when Scott and his wife and producer Giannina Facio approached Bentivegna to pen a new version of the script.

“I had written something else they had read—that was completely unrelated,” Bentivegna recalls, speaking over Zoom from London. “They’d been trying [to make] House of Gucci for so many years with a lot of different writers and it never came together. I have a personal connection to the story because I grew up in Milan and my mother is a fashion designer. I used to play two doors down from where Maurizio was murdered. I knew the story very well. It was one of those kind of perfect marriages of ‘Here’s a job’ but also it never felt like a job. This felt I had nothing to lose and I could really go crazy with it and do something very unique and very different.”

House of Gucci follows Patrizia Reggiani, played winningly by Lady Gaga, as she meets and marries Maurizio Gucci (Adam Driver), becoming part of the Italian fashion brand’s family dynasty. After the marriage crumbles Patrizia hires two men to murder Maurizio—an act of violence that actually took place. It’s a stranger-than-fiction tale, with a lot of dramatic players and events, but Bentivegna, who is co-credited for the screenplay with Becky Johnston, felt the best way in was to showcase the story from Patrizia’s point of view.

“The touchstone I thought of was Sunset Boulevard and I thought of that movie specifically in terms of point of view because it’s such a strange film,” he explains. “The character you remember is Norma Desmond, but it’s actually William Holden’s movie. He takes you through the story, with his voiceover and everything. So I thought about twisting that dynamic around and having Norma Desmond essentially be the protagonist in what would be this movie. That was a very helpful through line. And the other thing was making it a fashion gangster movie, in a way. Patrizia’s almost like a Tony Montana—this big gangster who just doesn’t give a fuck and bulldozes her way through thirty years. And obviously, in the end, she bulldozes over herself.”

To write the script, Bentivegna did extensive research beyond Forden’s book. Because the screenwriter speaks Italian, he was able to go into the archives of Italian newspapers and read what people had written about the family in the 1970s and 1980s. “It’s just interesting to see how the opinion changed over the years,” he notes. “Obviously now we think of Gucci as this incredibly luxurious, extravagant brand. But to read about the family in the ‘70s, with Aldo [Gucci] being arrested for tax evasion and Paolo [Gucci] trying to start his own line and fucking it all up. People were writing about it in a way that was almost like tabloid fodder.”

Bentivegna elected not to speak with any members of the Gucci family because he wanted to avoid feeling like he was forced to serve their bias in any way. He sees his script as a work of “creative speculation” rather than an exact history. The goal was to dramatize rather than sensationalize, although Bentivegna confirms that much of the film is based on truth.

“I think, generally speaking, I was quite faithful,” he says. “There were a few things I changed. For example, Guccio Gucci had three sons and a daughter, and for dramatic purposes I thought it was a much cleaner thing to have Rodolfo, played by Jeremy Irons, and Aldo, played by Al Pacino, and give them two sons and created that father/son dynamic. Little things like giving Maurizio and Patrizia one daughter instead of two. In real life there’s two daughters, but I’m an only child and I always felt like when my parents argued it was particularly heavy. You felt that weight of the family stress on your shoulders, so that really helped me.”

Although Bentivegna is fluent in Italian, the screenplay was written solely in English. Any additions of Italian, as well as the actors’ Italian accents, were creative decisions made during production.

“I wanted it to sound as witty as possible,” Bentivegna explains. “If you write for someone who doesn’t speak English as their native language obviously they’re not going to be as witty as somebody whose first language English. So I didn’t want to write in broken English because that would be a weird thing. I just wrote it as though they were English speaker. I left that choice to Ridley and the actors to figure out where they wanted to go with it.”

Another creative choice made on set was Lady Gaga’s now iconic line “Father, Son, and House of Gucci,” which blew up on Twitter when the film’s trailer first dropped. Gaga actually ad-libbed the line on the day.

“I have to admit I didn’t write that,” Bentivegna laughs. “I wish I could say I did! I think in the script she just crosses herself. But that’s the genius of having someone like her. She’s a genius. She can come up with these things and make it look easy. Jared [Leto] also had quite a few contributions. His line about shit and chocolate, when he says ‘Trust me I know the difference.’ Honestly, they were very faithful to my script, which is wonderful. I only take it as a compliment that they went off and riffed and felt comfortable with it. It means they were inspired by it and they had all these ingredients they could cook with.”

House of Gucci Interview
Al Pacino in Ridley Scott’s House of Gucci MGM

In many ways, House of Gucci is a character study of Patrizia, who finds herself immersed in the Gucci family drama and soon begins to meddle. It was important for Bentivegna to take a balanced approach to her characterization—the audience needs to like her enough to follow her through the story, but she’s also a murderer.

“I remember reading an interview with Paul Schrader about Taxi Driver that always stuck with me,” Bentivegna says. “He was talking about how if you put yourself in the shoes of a character for maybe 30 minutes in a movie, if it’s told from their point of view, something happens with the audience where they almost transcendentally go into that person’s mind. Inevitably, they’re attached to them emotionally. I always thought about that. Obviously this is not as much of a first-person perspective as Taxi Driver, but there is an element of seeing the world through her eyes. You are with her the whole way. With her, it was about giving enough motivation and humanizing her without falling into cliches about sympathetic protagonists. She is who she is. But it’s a question of understanding why she did what she did and making it relatable in some way.”

Following his experience on House of Gucci, Bentivegna is adapting Jo Nesbo’s novella The Jealousy Man into a feature for Amazon, with Will Oldroyd, best known for helming Lady Macbeth, attached to direct. Working on House of Gucci has opened a door for the screenwriter, both professionally and creatively, and he feels like he’s learned how to bring his own experiences into his writing in a way that makes them universal.

“That idea of ‘write what you know’—I was always a little skeptical of that,” Bentivegna reflects. “It’s so limiting. It’s kind of sad to think you can only write about the things you know or have lived. It doesn’t feel very creative. But in this case that really was true because my connection into the story and the world and its specificity was such a big deal. Even the moment when Maurizio feeds Patrizia the hot pocket in front of the Duomo—those are called panzerotti and I used to eat them with my dad every Sunday. It was a ritual. Putting these details in a story, in a script, it gave it a personal connection. In this context, the write what you know thing really does apply. I’m not sure if it applies to everything. You can totally write something you know nothing about and learn along the way, but in this case it’s proof of that pudding.”

House of Gucci is now playing in theaters.

‘House of Gucci’ Screenwriter on How He Wrote a ‘Fashion Gangster Movie’

) [1] => Array ( [title] => Johnny Depp & Winona Ryder Seeing Each Other For The First Time After Their Breakup In This TB Video Will Leave You Teary-Eyed! [link] => https://debatepost.com/johnny-depp-winona-ryder-seeing-each-other-for-the-first-time-after-their-breakup-in-this-tb-video-will-leave-you-teary-eyed/ [dc] => Array ( [creator] => Susan Paul ) [pubdate] => Thu, 25 Nov 2021 18:41:30 +0000 [category] => TrendingbreakupDeppJohnnyleaveRyderTearyEyedTimeVideoWinona [guid] => https://debatepost.com/johnny-depp-winona-ryder-seeing-each-other-for-the-first-time-after-their-breakup-in-this-tb-video-will-leave-you-teary-eyed/ [description] => Johnny Depp & Winona Ryder Seeing Each Other For The First Time After Their Breakup In This TB Video Will Leave You Teary-Eyed – Watch! ( Photo Credit – IMDb ) If there’s one couple that we wholeheartedly wish to get back together is – Johnny Depp and Winona Ryder. These two were couple goals ... Read more [content] => Array ( [encoded] =>
Johnny Depp & Winona Ryder Seeing Each Other For The First Time After Their Breakup In This TB Video Will Leave You Teary-Eyed – Watch! ( Photo Credit – IMDb )

If there’s one couple that we wholeheartedly wish to get back together is – Johnny Depp and Winona Ryder. These two were couple goals back then and their love story was nothing short of magical and would make you believe that true love existed. Today, we bring you a throwback of the time when the couple broke up and how they reacted upon seeing each other after that for the first time will leave you teary-eyed.

Johnny and Winona dated for five months and later got engaged and this news came as a sweet surprise to all their fans.

There’s a video of Johnny Depp and Winona Ryder that is doing the rounds on social media where the stars see each other for the first time after their emotional breakup. The young Johnny and Winona will definitely make you fall in love with them all over again.

Take a look at Johnny Depp and Winona Ryder’s video here:

No, we are not crying. You are!

The fans can’t stop reacting to their video and a user commented, “I wouldn’t instantly went back with that look he gave her 😭😭😭”. Another user commented, “Breaks my heart 💔”. A third user commented, “The way johnny looked and smiled at winona 🔥” A fourth user commented, “I can’t stop watching this. This is perfect.” A fifth user commented, “They were too cute together”.

What we wouldn’t give up to see Winona Ryder and Johnny Depp together? These two shared the love that poets write about.

What are your thoughts on Johnny and Winona’s video? Tell us in the comments below.

For more such throwbacks, stick to Koimoi.

Must Read: Benedict Cumberbatch Feels Men Need To Fix Their Behaviour While Speaking On Toxic Masculinity: “Just Shut Up & Listen”

Follow Us: Facebook | Instagram | Twitter | Youtube

Many Thanks To The following Website For This Valuable Content.
Johnny Depp & Winona Ryder Seeing Each Other For The First Time After Their Breakup In This TB Video Will Leave You Teary-Eyed!

) [summary] => Johnny Depp & Winona Ryder Seeing Each Other For The First Time After Their Breakup In This TB Video Will Leave You Teary-Eyed – Watch! ( Photo Credit – IMDb ) If there’s one couple that we wholeheartedly wish to get back together is – Johnny Depp and Winona Ryder. These two were couple goals ... Read more [atom_content] =>
Johnny Depp & Winona Ryder Seeing Each Other For The First Time After Their Breakup In This TB Video Will Leave You Teary-Eyed – Watch! ( Photo Credit – IMDb )

If there’s one couple that we wholeheartedly wish to get back together is – Johnny Depp and Winona Ryder. These two were couple goals back then and their love story was nothing short of magical and would make you believe that true love existed. Today, we bring you a throwback of the time when the couple broke up and how they reacted upon seeing each other after that for the first time will leave you teary-eyed.

Johnny and Winona dated for five months and later got engaged and this news came as a sweet surprise to all their fans.

There’s a video of Johnny Depp and Winona Ryder that is doing the rounds on social media where the stars see each other for the first time after their emotional breakup. The young Johnny and Winona will definitely make you fall in love with them all over again.

Take a look at Johnny Depp and Winona Ryder’s video here:

No, we are not crying. You are!

The fans can’t stop reacting to their video and a user commented, “I wouldn’t instantly went back with that look he gave her 😭😭😭”. Another user commented, “Breaks my heart 💔”. A third user commented, “The way johnny looked and smiled at winona 🔥” A fourth user commented, “I can’t stop watching this. This is perfect.” A fifth user commented, “They were too cute together”.

What we wouldn’t give up to see Winona Ryder and Johnny Depp together? These two shared the love that poets write about.

What are your thoughts on Johnny and Winona’s video? Tell us in the comments below.

For more such throwbacks, stick to Koimoi.

Must Read: Benedict Cumberbatch Feels Men Need To Fix Their Behaviour While Speaking On Toxic Masculinity: “Just Shut Up & Listen”

Follow Us: Facebook | Instagram | Twitter | Youtube

Many Thanks To The following Website For This Valuable Content.
Johnny Depp & Winona Ryder Seeing Each Other For The First Time After Their Breakup In This TB Video Will Leave You Teary-Eyed!

) [2] => Array ( [title] => Centene Issues Comment with Regard to Politan [link] => https://debatepost.com/centene-issues-comment-with-regard-to-politan/ [dc] => Array ( [creator] => Susan Paul ) [pubdate] => Thu, 25 Nov 2021 18:27:42 +0000 [category] => Movie Production CompaniesCenteneCOMMENTIssuesPolitanRegard [guid] => https://debatepost.com/centene-issues-comment-with-regard-to-politan/ [description] => ST. LOUIS, Nov. 3, 2021 /PRNewswire/ — Centene Corporation (NYSE: CNC) today issued the following statement with regard to Politan Capital Management: Centene’s Board of Directors and management team are committed to acting in the best interests of the Company and its shareholders – and deliver substantial, sustainable value. We welcome constructive ideas to enhance ... Read more [content] => Array ( [encoded] =>

ST. LOUIS, Nov. 3, 2021 /PRNewswire/ — Centene Corporation (NYSE: CNC) today issued the following statement with regard to Politan Capital Management:

Centene’s Board of Directors and management team are committed to acting in the best interests of the Company and its shareholders – and deliver substantial, sustainable value. We welcome constructive ideas to enhance these efforts.

As previously disclosed, Centene has been aggressively implementing a plan to accelerate value creation. The Company is leveraging its full size and scale to drive margin expansion with a target of at least 3.3% adjusted net income margin by 2024. Progress towards these goals is well underway — during its most recently reported third quarter earnings, the Company delivered 11% revenue growth while aggressively managing its costs and margins. Centene also has been undergoing a review of its businesses to simplify and optimize its portfolio and enhance its market position as well as drive margin expansion, including today’s announcement regarding our sale of a majority stake in U.S. Medical Management. Centene intends to use the proceeds from the sale to repurchase stock, in a first step towards a material stock repurchase program. In addition, the Company is pursuing a comprehensive process to refresh its Board, including having added four new directors, three of whom are independent, over the past two years. As previously disclosed, the Company intends to make further changes to the composition of the board and diversity will continue to be a strong consideration.

Centene looks forward to ongoing engagement with Politan and all of its shareholders.

About Centene Corporation
Centene Corporation, a Fortune 25 company, is a leading multi-national healthcare enterprise that is committed to helping people live healthier lives. The Company takes a local approach – with local brands and local teams – to provide fully integrated, high-quality, and cost-effective services to government-sponsored and commercial healthcare programs, focusing on under-insured and uninsured individuals. Centene offers affordable and high-quality products to nearly 1 in 15 individuals across the nation, including Medicaid and Medicare members (including Medicare Prescription Drug Plans) as well as individuals and families served by the Health Insurance Marketplace, the TRICARE program, and individuals in correctional facilities. The Company also serves several international markets, and contracts with other healthcare and commercial organizations to provide a variety of specialty services focused on treating the whole person. Centene focuses on long-term growth and the development of its people, systems and capabilities so that it can better serve its members, providers, local communities, and government partners.

Centene uses its investor relations website to publish important information about the Company, including information that may be deemed material to investors. Financial and other information about Centene is routinely posted and is accessible on Centene’s investor relations website, https://investors.centene.com/.

Forward-Looking Statements
All statements, other than statements of current or historical fact, contained in this press release are forward-looking statements. Without limiting the foregoing, forward-looking statements often use words such as “believe,” “anticipate,” “plan,” “expect,” “estimate,” “intend,” “seek,” “target,” “goal,” “may,” “will,” “would,” “could,” “should,” “can,” “continue” and other similar words or expressions (and the negative thereof). Centene (the Company, our, or we) intends such forward-looking statements to be covered by the safe-harbor provisions for forward-looking statements contained in the Private Securities Litigation Reform Act of 1995, and we are including this statement for purposes of complying with these safe-harbor provisions. In particular, these statements include, without limitation, statements about our future operating or financial performance, market opportunity, growth strategy, competition, expected activities in completed and future acquisitions, including statements about the impact of our proposed acquisition of Magellan Health (the Magellan Acquisition), our completed acquisition of WellCare Health Plans, Inc. (WellCare and such acquisition, the WellCare Acquisition), other recent and future acquisitions, investments, and the adequacy of our available cash resources. These forward-looking statements reflect our current views with respect to future events and are based on numerous assumptions and assessments made by us in light of our experience and perception of historical trends, current conditions, business strategies, operating environments, future developments and other factors we believe appropriate. By their nature, forward-looking statements involve known and unknown risks and uncertainties and are subject to change because they relate to events and depend on circumstances that will occur in the future, including economic, regulatory, competitive and other factors that may cause our or our industry’s actual results, levels of activity, performance or achievements to be materially different from any future results, levels of activity, performance or achievements expressed or implied by these forward-looking statements. These statements are not guarantees of future performance and are subject to risks, uncertainties and assumptions. All forward-looking statements included in this press release are based on information available to us on the date hereof. Except as may be otherwise required by law, we undertake no obligation to update or revise the forward-looking statements included in this press release, whether as a result of new information, future events or otherwise, after the date hereof. You should not place undue reliance on any forward-looking statements, as actual results may differ materially from projections, estimates, or other forward-looking statements due to a variety of important factors, variables and events including, but not limited to: the impact of COVID-19 on global markets, economic conditions, the healthcare industry and our results of operations and the response by governments and other third parties; our ability to accurately predict and effectively manage health benefits and other operating expenses and reserves, including fluctuations in medical utilization rates due to the impact of COVID-19; the risk that regulatory or other approvals required for the Magellan Acquisition may be delayed or not obtained or are subject to unanticipated conditions that could require the exertion of management’s time and our resources or otherwise have an adverse effect on us; the possibility that certain conditions to the consummation of the Magellan Acquisition will not be satisfied or completed on a timely basis and accordingly, the Magellan Acquisition may not be consummated on a timely basis or at all; uncertainty as to the expected financial performance of the combined company following completion of the Magellan Acquisition; the possibility that the expected synergies and value creation from the Magellan Acquisition or the WellCare Acquisition (or other acquired businesses) will not be realized, or will not be realized within the respective expected time periods; the risk that unexpected costs will be incurred in connection with the completion and/or integration of the Magellan Acquisition or that the integration of Magellan Health will be more difficult or time consuming than expected, or similar risks from other acquisitions we may announce or complete from time to time; the risk that potential litigation in connection with the Magellan Acquisition may affect the timing or occurrence of the Magellan Acquisition or result in significant costs of defense, indemnification and liability; disruption from the announcement, pendency, completion and/or integration of the Magellan Acquisition or from the integration of the WellCare Acquisition, or similar risks from other acquisitions we may announce or complete from time to time, including potential adverse reactions or changes to business relationships with customers, employees, suppliers or regulators, making it more difficult to maintain business and operational relationships; a downgrade of the credit rating of our indebtedness; the inability to retain key personnel; competition; membership and revenue declines or unexpected trends; changes in healthcare practices, new technologies and advances in medicine; increased healthcare costs; changes in economic, political or market conditions; changes in federal or state laws or regulations, including changes with respect to income tax reform or government healthcare programs as well as changes with respect to the Patient Protection and Affordable Care Act and the Health Care and Education Affordability Reconciliation Act (collectively referred to as the ACA) and any regulations enacted thereunder that may result from changing political conditions, the new administration or judicial actions; rate cuts or other payment reductions or delays by governmental payors and other risks and uncertainties affecting our government businesses; our ability to adequately price products; tax matters; disasters or major epidemics; changes in expected contract start dates; provider, state, federal, foreign and other contract changes and timing of regulatory approval of contracts; the expiration, suspension, or termination of our contracts with federal or state governments (including, but not limited to, Medicaid, Medicare, TRICARE or other customers); the difficulty of predicting the timing or outcome of legal or regulatory proceedings or matters, including, but not limited to, our ability to resolve claims and/or allegations made by states with regard to past practices, including at Envolve Pharmacy Solutions, Inc. (Envolve), as our pharmacy benefits manager (PBM) subsidiary, within the reserve estimate we have recorded and on other acceptable terms, or at all, or whether additional claims, reviews or investigations relating to our PBM business will be brought by states, the federal government or shareholder litigants, or government investigations; timing and extent of benefits from strategic value creation initiatives; challenges to our contract awards; cyber-attacks or other privacy or data security incidents; the exertion of management’s time and our resources, and other expenses incurred and business changes required in connection with complying with the undertakings in connection with any regulatory, governmental or third party consents or approvals for acquisitions, including the Magellan Acquisition; changes in expected closing dates, estimated purchase price and accretion for acquisitions; the risk that acquired businesses will not be integrated successfully; restrictions and limitations in connection with our indebtedness; our ability to maintain or achieve improvement in the Centers for Medicare and Medicaid Services (CMS) Star ratings and maintain or achieve improvement in other quality scores in each case that can impact revenue and future growth; availability of debt and equity financing, on terms that are favorable to us; inflation; foreign currency fluctuations and risks and uncertainties discussed in the reports that Centene has filed with the Securities and Exchange Commission. This list of important factors is not intended to be exhaustive. We discuss certain of these matters more fully, as well as certain other factors that may affect our business operations, financial condition and results of operations, in our filings with the Securities and Exchange Commission (SEC), including our annual report on Form 10-K, quarterly reports on Form 10-Q and current reports on Form 8-K. Due to these important factors and risks, we cannot give assurances with respect to our future performance, including without limitation our ability to maintain adequate premium levels or our ability to control our future medical and selling, general and administrative costs.

Cision

View original content:https://www.prnewswire.com/news-releases/centene-issues-comment-with-regard-to-politan-301415763.html

SOURCE Centene Corporation

Many Thanks To The following Website For This Valuable Content.
Centene Issues Comment with Regard to Politan

) [summary] => ST. LOUIS, Nov. 3, 2021 /PRNewswire/ — Centene Corporation (NYSE: CNC) today issued the following statement with regard to Politan Capital Management: Centene’s Board of Directors and management team are committed to acting in the best interests of the Company and its shareholders – and deliver substantial, sustainable value. We welcome constructive ideas to enhance ... Read more [atom_content] =>

ST. LOUIS, Nov. 3, 2021 /PRNewswire/ — Centene Corporation (NYSE: CNC) today issued the following statement with regard to Politan Capital Management:

Centene’s Board of Directors and management team are committed to acting in the best interests of the Company and its shareholders – and deliver substantial, sustainable value. We welcome constructive ideas to enhance these efforts.

As previously disclosed, Centene has been aggressively implementing a plan to accelerate value creation. The Company is leveraging its full size and scale to drive margin expansion with a target of at least 3.3% adjusted net income margin by 2024. Progress towards these goals is well underway — during its most recently reported third quarter earnings, the Company delivered 11% revenue growth while aggressively managing its costs and margins. Centene also has been undergoing a review of its businesses to simplify and optimize its portfolio and enhance its market position as well as drive margin expansion, including today’s announcement regarding our sale of a majority stake in U.S. Medical Management. Centene intends to use the proceeds from the sale to repurchase stock, in a first step towards a material stock repurchase program. In addition, the Company is pursuing a comprehensive process to refresh its Board, including having added four new directors, three of whom are independent, over the past two years. As previously disclosed, the Company intends to make further changes to the composition of the board and diversity will continue to be a strong consideration.

Centene looks forward to ongoing engagement with Politan and all of its shareholders.

About Centene Corporation
Centene Corporation, a Fortune 25 company, is a leading multi-national healthcare enterprise that is committed to helping people live healthier lives. The Company takes a local approach – with local brands and local teams – to provide fully integrated, high-quality, and cost-effective services to government-sponsored and commercial healthcare programs, focusing on under-insured and uninsured individuals. Centene offers affordable and high-quality products to nearly 1 in 15 individuals across the nation, including Medicaid and Medicare members (including Medicare Prescription Drug Plans) as well as individuals and families served by the Health Insurance Marketplace, the TRICARE program, and individuals in correctional facilities. The Company also serves several international markets, and contracts with other healthcare and commercial organizations to provide a variety of specialty services focused on treating the whole person. Centene focuses on long-term growth and the development of its people, systems and capabilities so that it can better serve its members, providers, local communities, and government partners.

Centene uses its investor relations website to publish important information about the Company, including information that may be deemed material to investors. Financial and other information about Centene is routinely posted and is accessible on Centene’s investor relations website, https://investors.centene.com/.

Forward-Looking Statements
All statements, other than statements of current or historical fact, contained in this press release are forward-looking statements. Without limiting the foregoing, forward-looking statements often use words such as “believe,” “anticipate,” “plan,” “expect,” “estimate,” “intend,” “seek,” “target,” “goal,” “may,” “will,” “would,” “could,” “should,” “can,” “continue” and other similar words or expressions (and the negative thereof). Centene (the Company, our, or we) intends such forward-looking statements to be covered by the safe-harbor provisions for forward-looking statements contained in the Private Securities Litigation Reform Act of 1995, and we are including this statement for purposes of complying with these safe-harbor provisions. In particular, these statements include, without limitation, statements about our future operating or financial performance, market opportunity, growth strategy, competition, expected activities in completed and future acquisitions, including statements about the impact of our proposed acquisition of Magellan Health (the Magellan Acquisition), our completed acquisition of WellCare Health Plans, Inc. (WellCare and such acquisition, the WellCare Acquisition), other recent and future acquisitions, investments, and the adequacy of our available cash resources. These forward-looking statements reflect our current views with respect to future events and are based on numerous assumptions and assessments made by us in light of our experience and perception of historical trends, current conditions, business strategies, operating environments, future developments and other factors we believe appropriate. By their nature, forward-looking statements involve known and unknown risks and uncertainties and are subject to change because they relate to events and depend on circumstances that will occur in the future, including economic, regulatory, competitive and other factors that may cause our or our industry’s actual results, levels of activity, performance or achievements to be materially different from any future results, levels of activity, performance or achievements expressed or implied by these forward-looking statements. These statements are not guarantees of future performance and are subject to risks, uncertainties and assumptions. All forward-looking statements included in this press release are based on information available to us on the date hereof. Except as may be otherwise required by law, we undertake no obligation to update or revise the forward-looking statements included in this press release, whether as a result of new information, future events or otherwise, after the date hereof. You should not place undue reliance on any forward-looking statements, as actual results may differ materially from projections, estimates, or other forward-looking statements due to a variety of important factors, variables and events including, but not limited to: the impact of COVID-19 on global markets, economic conditions, the healthcare industry and our results of operations and the response by governments and other third parties; our ability to accurately predict and effectively manage health benefits and other operating expenses and reserves, including fluctuations in medical utilization rates due to the impact of COVID-19; the risk that regulatory or other approvals required for the Magellan Acquisition may be delayed or not obtained or are subject to unanticipated conditions that could require the exertion of management’s time and our resources or otherwise have an adverse effect on us; the possibility that certain conditions to the consummation of the Magellan Acquisition will not be satisfied or completed on a timely basis and accordingly, the Magellan Acquisition may not be consummated on a timely basis or at all; uncertainty as to the expected financial performance of the combined company following completion of the Magellan Acquisition; the possibility that the expected synergies and value creation from the Magellan Acquisition or the WellCare Acquisition (or other acquired businesses) will not be realized, or will not be realized within the respective expected time periods; the risk that unexpected costs will be incurred in connection with the completion and/or integration of the Magellan Acquisition or that the integration of Magellan Health will be more difficult or time consuming than expected, or similar risks from other acquisitions we may announce or complete from time to time; the risk that potential litigation in connection with the Magellan Acquisition may affect the timing or occurrence of the Magellan Acquisition or result in significant costs of defense, indemnification and liability; disruption from the announcement, pendency, completion and/or integration of the Magellan Acquisition or from the integration of the WellCare Acquisition, or similar risks from other acquisitions we may announce or complete from time to time, including potential adverse reactions or changes to business relationships with customers, employees, suppliers or regulators, making it more difficult to maintain business and operational relationships; a downgrade of the credit rating of our indebtedness; the inability to retain key personnel; competition; membership and revenue declines or unexpected trends; changes in healthcare practices, new technologies and advances in medicine; increased healthcare costs; changes in economic, political or market conditions; changes in federal or state laws or regulations, including changes with respect to income tax reform or government healthcare programs as well as changes with respect to the Patient Protection and Affordable Care Act and the Health Care and Education Affordability Reconciliation Act (collectively referred to as the ACA) and any regulations enacted thereunder that may result from changing political conditions, the new administration or judicial actions; rate cuts or other payment reductions or delays by governmental payors and other risks and uncertainties affecting our government businesses; our ability to adequately price products; tax matters; disasters or major epidemics; changes in expected contract start dates; provider, state, federal, foreign and other contract changes and timing of regulatory approval of contracts; the expiration, suspension, or termination of our contracts with federal or state governments (including, but not limited to, Medicaid, Medicare, TRICARE or other customers); the difficulty of predicting the timing or outcome of legal or regulatory proceedings or matters, including, but not limited to, our ability to resolve claims and/or allegations made by states with regard to past practices, including at Envolve Pharmacy Solutions, Inc. (Envolve), as our pharmacy benefits manager (PBM) subsidiary, within the reserve estimate we have recorded and on other acceptable terms, or at all, or whether additional claims, reviews or investigations relating to our PBM business will be brought by states, the federal government or shareholder litigants, or government investigations; timing and extent of benefits from strategic value creation initiatives; challenges to our contract awards; cyber-attacks or other privacy or data security incidents; the exertion of management’s time and our resources, and other expenses incurred and business changes required in connection with complying with the undertakings in connection with any regulatory, governmental or third party consents or approvals for acquisitions, including the Magellan Acquisition; changes in expected closing dates, estimated purchase price and accretion for acquisitions; the risk that acquired businesses will not be integrated successfully; restrictions and limitations in connection with our indebtedness; our ability to maintain or achieve improvement in the Centers for Medicare and Medicaid Services (CMS) Star ratings and maintain or achieve improvement in other quality scores in each case that can impact revenue and future growth; availability of debt and equity financing, on terms that are favorable to us; inflation; foreign currency fluctuations and risks and uncertainties discussed in the reports that Centene has filed with the Securities and Exchange Commission. This list of important factors is not intended to be exhaustive. We discuss certain of these matters more fully, as well as certain other factors that may affect our business operations, financial condition and results of operations, in our filings with the Securities and Exchange Commission (SEC), including our annual report on Form 10-K, quarterly reports on Form 10-Q and current reports on Form 8-K. Due to these important factors and risks, we cannot give assurances with respect to our future performance, including without limitation our ability to maintain adequate premium levels or our ability to control our future medical and selling, general and administrative costs.

Cision

View original content:https://www.prnewswire.com/news-releases/centene-issues-comment-with-regard-to-politan-301415763.html

SOURCE Centene Corporation

Many Thanks To The following Website For This Valuable Content.
Centene Issues Comment with Regard to Politan

) [3] => Array ( [title] => Tragedy Of Macbeth Trailer: Denzel Washington Commits Murder [link] => https://debatepost.com/tragedy-of-macbeth-trailer-denzel-washington-commits-murder/ [dc] => Array ( [creator] => Susan Paul ) [pubdate] => Thu, 25 Nov 2021 18:25:46 +0000 [category] => Movie Production CompaniescommitsDenzelMacbethmurdertragedyTrailerWashington [guid] => https://debatepost.com/tragedy-of-macbeth-trailer-denzel-washington-commits-murder/ [description] => A24 debuts a new Tragedy of Macbeth trailer seeing Denzel Washington’s titular character committing the murder that sets the story in motion. A24 debuts a new Tragedy of Macbeth trailer seeing Denzel Washington’s titular character committing the murder that sets the story in motion. The latest adaptation of William Shakespeare’s iconic play hails from Oscar-winning ... Read more [content] => Array ( [encoded] =>

A24 debuts a new Tragedy of Macbeth trailer seeing Denzel Washington’s titular character committing the murder that sets the story in motion.

A24 debuts a new Tragedy of Macbeth trailer seeing Denzel Washington’s titular character committing the murder that sets the story in motion. The latest adaptation of William Shakespeare’s iconic play hails from Oscar-winning writer/director Joel Coen in his first project away from his brother Ethan as the latter has directed his focus on the theater. Coen began development on The Tragedy of Macbeth, a reimagining of the Shakespeare play, in early 2019 with A24 attached to produce and distribute.

The Tragedy of Macbeth revolves around the titular Scottish general as he finds himself convinced by three foreseeing witches to kill the King of Scotland, which would subsequently see Macbeth take the throne though also lead to his downfall from his own ambition, guilt and his power-hungry wife. Coen has assembled an ensemble cast for his new take on Shakespeare’s play with Washington starring as Macbeth alongside Frances McDormand as Lady Macbeth, Brendan Gleeson as King Duncan, Alex Hassell, Bertie Carvel, Corey Hawkins, Harry Melling and Ralph Ineson. Initially slated for a theatrical release from A24, The Tragedy of Macbeth is gearing up to hit the big screen with a limited release followed by a streaming premiere on Apple TV+ in January.

SCREENRANT VIDEO OF THE DAY

Related: Every Unmade Coen Brothers Movie (& Why They Didn’t Happen)

With just a month to go until the film’s limited theatrical release, A24 has debuted a new Tragedy of Macbeth trailer. The video sees Denzel Washington’s titular character committing the murder that sets him down the dark path in Shakespeare’s source material. Check out the trailer below:

Click here to watch the video

The new Tragedy of Macbeth trailer may not offer much of a look at the new take Coen is bringing to the Shakespeare play, but it does show off plenty of the glorious style the writer/director has taken to adapt the source material. Previous footage and images for the film have confirmed it being shot in black-and-white and with it being shot entirely on sound stages, Coen has clearly utilized these elements to capture the more unsettling elements of the tragedy. It’s also interesting to note that the new Tragedy of Macbeth trailer further teases the film sticking to the old English writing of Shakespeare’s source material, not entirely unheard of for Shakespeare adaptations though certainly a rarity nowadays.

Early reception to The Tragedy of Macbeth has been just short of universal acclaim from critics since its debut at the New York Film Festival, currently sitting at a 98 percent approval rating on Rotten Tomatoes. Though its limited theatrical release is aimed more towards ensuring the film’s chances at the Academy Awards and Golden Globes, it will be interesting to see if the film can recapture the modest box office success of A24’s similar historical adaptation The Green Knight from earlier this year. Only time will tell when The Tragedy of Macbeth hits theaters this Christmas followed by Apple TV+ on January 14.

More: Winter 2021 Movie Preview: Every Movie Still To Come (And Where To Watch Them)

Source: A24

  • The Tragedy of Macbeth (2021)Release date: Dec 25, 2021

Antman and the wasp quantumania Marvel phase 4

Marvel’s Phase 4 Slate Has A Big Problem That’s Only Going To Get Worse


About The Author

Many Thanks To The following Website For This Valuable Content.
Tragedy Of Macbeth Trailer: Denzel Washington Commits Murder

) [summary] => A24 debuts a new Tragedy of Macbeth trailer seeing Denzel Washington’s titular character committing the murder that sets the story in motion. A24 debuts a new Tragedy of Macbeth trailer seeing Denzel Washington’s titular character committing the murder that sets the story in motion. The latest adaptation of William Shakespeare’s iconic play hails from Oscar-winning ... Read more [atom_content] =>

A24 debuts a new Tragedy of Macbeth trailer seeing Denzel Washington’s titular character committing the murder that sets the story in motion.

A24 debuts a new Tragedy of Macbeth trailer seeing Denzel Washington’s titular character committing the murder that sets the story in motion. The latest adaptation of William Shakespeare’s iconic play hails from Oscar-winning writer/director Joel Coen in his first project away from his brother Ethan as the latter has directed his focus on the theater. Coen began development on The Tragedy of Macbeth, a reimagining of the Shakespeare play, in early 2019 with A24 attached to produce and distribute.

The Tragedy of Macbeth revolves around the titular Scottish general as he finds himself convinced by three foreseeing witches to kill the King of Scotland, which would subsequently see Macbeth take the throne though also lead to his downfall from his own ambition, guilt and his power-hungry wife. Coen has assembled an ensemble cast for his new take on Shakespeare’s play with Washington starring as Macbeth alongside Frances McDormand as Lady Macbeth, Brendan Gleeson as King Duncan, Alex Hassell, Bertie Carvel, Corey Hawkins, Harry Melling and Ralph Ineson. Initially slated for a theatrical release from A24, The Tragedy of Macbeth is gearing up to hit the big screen with a limited release followed by a streaming premiere on Apple TV+ in January.

SCREENRANT VIDEO OF THE DAY

Related: Every Unmade Coen Brothers Movie (& Why They Didn’t Happen)

With just a month to go until the film’s limited theatrical release, A24 has debuted a new Tragedy of Macbeth trailer. The video sees Denzel Washington’s titular character committing the murder that sets him down the dark path in Shakespeare’s source material. Check out the trailer below:

Click here to watch the video

The new Tragedy of Macbeth trailer may not offer much of a look at the new take Coen is bringing to the Shakespeare play, but it does show off plenty of the glorious style the writer/director has taken to adapt the source material. Previous footage and images for the film have confirmed it being shot in black-and-white and with it being shot entirely on sound stages, Coen has clearly utilized these elements to capture the more unsettling elements of the tragedy. It’s also interesting to note that the new Tragedy of Macbeth trailer further teases the film sticking to the old English writing of Shakespeare’s source material, not entirely unheard of for Shakespeare adaptations though certainly a rarity nowadays.

Early reception to The Tragedy of Macbeth has been just short of universal acclaim from critics since its debut at the New York Film Festival, currently sitting at a 98 percent approval rating on Rotten Tomatoes. Though its limited theatrical release is aimed more towards ensuring the film’s chances at the Academy Awards and Golden Globes, it will be interesting to see if the film can recapture the modest box office success of A24’s similar historical adaptation The Green Knight from earlier this year. Only time will tell when The Tragedy of Macbeth hits theaters this Christmas followed by Apple TV+ on January 14.

More: Winter 2021 Movie Preview: Every Movie Still To Come (And Where To Watch Them)

Source: A24

  • The Tragedy of Macbeth (2021)Release date: Dec 25, 2021

Antman and the wasp quantumania Marvel phase 4

Marvel’s Phase 4 Slate Has A Big Problem That’s Only Going To Get Worse


About The Author

Many Thanks To The following Website For This Valuable Content.
Tragedy Of Macbeth Trailer: Denzel Washington Commits Murder

) [4] => Array ( [title] => The complicated challenge of being Diana of Wales: ten actresses who dared to put themselves in her shoes | Pleasures [link] => https://debatepost.com/the-complicated-challenge-of-being-diana-of-wales-ten-actresses-who-dared-to-put-themselves-in-her-shoes-pleasures/ [dc] => Array ( [creator] => Susan Paul ) [pubdate] => Thu, 25 Nov 2021 18:21:45 +0000 [category] => Movie Production CompaniesactresseschallengecomplicateddaredDianapleasuresputShoesTenWales [guid] => https://debatepost.com/the-complicated-challenge-of-being-diana-of-wales-ten-actresses-who-dared-to-put-themselves-in-her-shoes-pleasures/ [description] => 24 years after she sadly passed away in Paris, Diana of Wales remains the eternal princess of the people. The public, far from forgetting her, continues to vindicate her figure and show great interest in everything that is revealed about her. As a good icon of the twentieth century, both cinema and television have been ... Read more [content] => Array ( [encoded] =>

24 years after she sadly passed away in Paris, Diana of Wales remains the eternal princess of the people. The public, far from forgetting her, continues to vindicate her figure and show great interest in everything that is revealed about her. As a good icon of the twentieth century, both cinema and television have been able to profit from his biography. He even recently had his own Broadway musical. But sticking only to how fiction has portrayed it, the truth is that over the last few decades we have come across too many cartoonish products and too few that have done it justice. For this reason, taking advantage of the premiere in theaters Spencer, we analyze the work of those actresses who, with greater or worse fortune, have dared to embody it.

Elizabeth Debicki en ‘The Crown’ (2022-2023)

The French-Australian is not going to have it easy. Following Emma Corrin’s unforgettable performance on the popular series, the actress from Tenet and The great Gatsby will be in charge of recreating the last years of the Princess of Wales in her fifth and sixth seasons, scheduled for 2022 and 2023, respectively. As she told Entertainment Tonight herself last year, she is delighted to face this challenge: “I am truly a fan, I have been since the first season. My dear friend Vanessa Kirby played Princess Margaret in the first two seasons so beautifully… That’s why I started watching her. I remember as I watched her I thought, ‘This is extraordinary.’ For me, starting to swim in that ocean is incredible. Obviously, Princess Diana was a unique and extremely exceptional woman, so it is only an honor to be asked to play her. “

Elizabeth Debicki will be Diana in the next season of ‘The Crown’.

Kristen Stewart and ‘Spencer’ (2021)

A little over a decade ago, no one would have imagined that the star of the saga Twilight could aspire to an Oscar. But unless there is a surprise at the last minute, practically all the media point out that it has a good chance not only of being nominated, but also of taking the statuette on March 27. Chilean filmmaker Pedro Larraín has signed a film that is much more than a biopic. Truth be told, this is a horror tale in which Stewart relives the anguish Diana went through as a slave to a failed marriage, as well as the subject of public scrutiny. “Everyone loves to talk about how I prepared for this role, what kind of investigation or magic cartwheel I had to do to get the accent right. But to be honest, if you have enough time to get your accent to work, it’s very technical. The really important thing is to internalize things and incorporate truly emotional reactions to what already exists in real life, “the actress verbalized a few days ago in Vanity Fair.

Kristen Stewart and ‘Spencer’.

Emma Corrin and ‘The Crown’ (2020)

From being unknown to the general public to winning the Golden Globe for Best Actress in Drama. So far it has been the biggest beneficiary of this list. Before the fourth season of The Crown On Netflix, many doubted that he was capable of stepping into the shoes of such an iconic character. But all the critics, without exception, praised his work. “Corrin handles the burden of portraying Diana, one of the most beloved public figures of the 20th century, admirably. It perfectly reflects the timid tilt of the head and the beseeching upward gaze of the late princess, ”stressed Entertainment Weekly. As the actress said in the Mexican edition of GQ magazine, the most difficult scenes to shoot were those that showed her problems with bulimia: “It is an important experience for a person. And Diana spoke frankly about it, something that was incredibly ahead of its time. I wanted to do justice to her and the problem ”. Undoubtedly, it will be strange not to see it in the future two seasons that are still pending release.

Emma Corrin and her role as Diana in ‘The Crown’.

Jeanna de Waal and ‘Diana: The Musical’ (2020)

Yes, there is a musical about the Princess of Wales. Days before New Yorkers became homebound due to the pandemic, it opened on Broadway. But to save the ballot and avoid bankruptcy, its creators recently turned to Netflix so that we could see this surreal proposal from the comfort of home. The play, from this same November, will be represented again at the Longacre theater. Although taking into account the criticism it has garnered, nothing suggests that it will be on the bill for too long. “If you care about Diana as a human being, or dignity as a concept, you will find this treatment of her life mortifying both aesthetically and morally,” reported The New York Times.

Jeanna de Waal starred in ‘Diana: The Musical’

Naomi Watts en ‘Diana’ (2013)

“Watts doesn’t look, sound or act anything like the Princess of Wales. Wesley Snipes in a blonde wig would be more convincing, ”the Daily Mirror went on to say. The Guardian also did not skimp on expletives: “Poor Diana. I am reluctant to use the term ‘cinematic accident’. But the truth is that, 16 years after that terrible day in 1997, he has suffered another horrible death. ” Among other reasons, Oliver Hirschbiegel’s feature film was vilified by critics and audiences because it considered the princess’s relationship with Dr. Hasnat Khan to be truthful. However, all the darts went against Watts, who was nominated for her first Razzie for this role. As much as he affirmed that “Diana gave me permission to interpret her from her grave,” the Hollywood star ended up regretting participating in this nonsense. “In the end there were problems with the film and it ended up taking a course that was not expected. Every time you take a risk you know you can fall. And if you have to sink with the team, then go ahead, “he admitted in 2014.

Naomi Watts turned Diana of Wales.

Genevieve O’Reilly en ‘Diana: Last Days of a Princess’ (2007)

This partially fictionalized docudrama, premiered on the US channel TLC, included interviews with Mohamed Al-Fayed, Dodi’s father, and editors of The Sunday Mirror. As its title indicates, it brought the spotlight on the fateful summer of 1997 and how the paparazzi they harassed the then couple. Against all odds, the critics liked it. Without going any further, The New York Times published: “Praising a docudrama about Diana can seem ridiculous, like giving a sculpture award to a wax museum. But even those who despise dissection post mortem of celebrities will have to admit that the knife has rarely cut more cleanly than in Diana: Last Days of a Princess. It does not deify the princess. He portrays her as needy, but manipulative; loving, but flawed. That is, as a human being. The scenes between Diana and Dodi are silly – at one point, he shows her the teddy bears from his childhood – but according to most of the testimonies, they were people who could be really silly ”.

Genevieve O’Reilly en ‘Diana: Last Days of a Princess’

Amy Seccombe en ‘Diana: A Tribute to the People’s Princess’ (1998)

As El País reported in early 1998, not everyone welcomed the green light for this television project focused on his relationship with Dodi Al-Fayed. Both had died just a few months before, so it was considered an equally unnecessary and morbid attempt to make cash. In reality, nobody remembers its existence or its main actress, Amy Seccombe, who after its premiere only participated in one more film. As if that were not enough, Diana’s own personal bodyguard, Ken Wharfe, declared last month in the Daily Mirror that this film “is the weakest” of all the ones that have ever been shot about Diana. If someone like him says so, we are nobody to question him.

Amy Seccombe en ‘Diana: A Tribute to the People’s Princess’.

Julie Cox in ‘A Princess in Love’ (1996)

Caryn James, the then film critic for The New York Times, wrote that this CBS movie was simply “horrible.” Although not so much because it was based on Anna Pasternak’s book that detailed the relationship between the princess and the horseman James Hewitt. Mainly, for its protagonist. “All the actors seem smarter and more handsome than their counterparts in real life, except Diana. Played by Julie Cox, an English actress, this Diana is mediocre looking and a goose. His height is short. His clothing is disheveled. Her hair seems to have been cut and spray painted in a beauty salon, ”the journalist pointed out maliciously.

Julie Cox was Diana in ‘A Princess in Love’. (Getty / Alamy)

Serena Scott Thomas in ‘Diana, Her True Story’ (1993)

In 1992 the world came to a standstill when Andrew Morton edited the book of the same title. Basically, because the journalist aired in him the confidences that Diana made him about her failed marriage to Prince Charles, Camilla Parker-Bowles, her suicide attempts or her fight against bulimia. With that juicy material, Sky One and NBC produced a melodramatic telefilm starring Serena Scott Thomas, which, in its day, The Sun newspaper described as “as shallow as a small child’s play pool.” The actress even said a few weeks ago in Elle magazine: “I didn’t think things through well when I accepted the role. Did it affect my career? Definitely. But above all, I feel great regret. I feel really bad for having participated in something that has caused pain to the royal family, as they do nothing but give their skin for us. I would do it again? No”.

Serena Scott Thomas in ‘Diana, her true story’.

Catherine Oxenberg in ‘The Royal Romance of Charles and Diana’ (1982)

The American actress, known for having played Amanda Carrington in Dynasty, landed the first role of his career in this film broadcast by CBS. Critics narrowly saved his performance. However, it was released just three days after Charles & Diana: A Royal Love Story (a very similar ABC production in which Caroline Bliss played Diana), played against her. Now, considering that Oxenberg is the daughter of Princess Elizabeth of Yugoslavia, the second cousin of the Prince of Wales himself, that brought him more than one problem. In a post he published ten years ago on his blog, he confessed that “I received a severe reprimand, in the form of a letter, from King Constantine II of Greece, who considered it disrespectful for me to pass myself off as Diana.” Also, in an interview she gave in 2019, she explained that since then she has not been invited to Buckingham Palace again. Precisely, the last time he was there was on July 27, 1981, two days before the wedding of Carlos and Diana.

Catherine Oxenberg faced her family to be Diana.

Many Thanks To The following Website For This Valuable Content.
The complicated challenge of being Diana of Wales: ten actresses who dared to put themselves in her shoes | Pleasures

) [summary] => 24 years after she sadly passed away in Paris, Diana of Wales remains the eternal princess of the people. The public, far from forgetting her, continues to vindicate her figure and show great interest in everything that is revealed about her. As a good icon of the twentieth century, both cinema and television have been ... Read more [atom_content] =>

24 years after she sadly passed away in Paris, Diana of Wales remains the eternal princess of the people. The public, far from forgetting her, continues to vindicate her figure and show great interest in everything that is revealed about her. As a good icon of the twentieth century, both cinema and television have been able to profit from his biography. He even recently had his own Broadway musical. But sticking only to how fiction has portrayed it, the truth is that over the last few decades we have come across too many cartoonish products and too few that have done it justice. For this reason, taking advantage of the premiere in theaters Spencer, we analyze the work of those actresses who, with greater or worse fortune, have dared to embody it.

Elizabeth Debicki en ‘The Crown’ (2022-2023)

The French-Australian is not going to have it easy. Following Emma Corrin’s unforgettable performance on the popular series, the actress from Tenet and The great Gatsby will be in charge of recreating the last years of the Princess of Wales in her fifth and sixth seasons, scheduled for 2022 and 2023, respectively. As she told Entertainment Tonight herself last year, she is delighted to face this challenge: “I am truly a fan, I have been since the first season. My dear friend Vanessa Kirby played Princess Margaret in the first two seasons so beautifully… That’s why I started watching her. I remember as I watched her I thought, ‘This is extraordinary.’ For me, starting to swim in that ocean is incredible. Obviously, Princess Diana was a unique and extremely exceptional woman, so it is only an honor to be asked to play her. “

Elizabeth Debicki will be Diana in the next season of ‘The Crown’.

Kristen Stewart and ‘Spencer’ (2021)

A little over a decade ago, no one would have imagined that the star of the saga Twilight could aspire to an Oscar. But unless there is a surprise at the last minute, practically all the media point out that it has a good chance not only of being nominated, but also of taking the statuette on March 27. Chilean filmmaker Pedro Larraín has signed a film that is much more than a biopic. Truth be told, this is a horror tale in which Stewart relives the anguish Diana went through as a slave to a failed marriage, as well as the subject of public scrutiny. “Everyone loves to talk about how I prepared for this role, what kind of investigation or magic cartwheel I had to do to get the accent right. But to be honest, if you have enough time to get your accent to work, it’s very technical. The really important thing is to internalize things and incorporate truly emotional reactions to what already exists in real life, “the actress verbalized a few days ago in Vanity Fair.

Kristen Stewart and ‘Spencer’.

Emma Corrin and ‘The Crown’ (2020)

From being unknown to the general public to winning the Golden Globe for Best Actress in Drama. So far it has been the biggest beneficiary of this list. Before the fourth season of The Crown On Netflix, many doubted that he was capable of stepping into the shoes of such an iconic character. But all the critics, without exception, praised his work. “Corrin handles the burden of portraying Diana, one of the most beloved public figures of the 20th century, admirably. It perfectly reflects the timid tilt of the head and the beseeching upward gaze of the late princess, ”stressed Entertainment Weekly. As the actress said in the Mexican edition of GQ magazine, the most difficult scenes to shoot were those that showed her problems with bulimia: “It is an important experience for a person. And Diana spoke frankly about it, something that was incredibly ahead of its time. I wanted to do justice to her and the problem ”. Undoubtedly, it will be strange not to see it in the future two seasons that are still pending release.

Emma Corrin and her role as Diana in ‘The Crown’.

Jeanna de Waal and ‘Diana: The Musical’ (2020)

Yes, there is a musical about the Princess of Wales. Days before New Yorkers became homebound due to the pandemic, it opened on Broadway. But to save the ballot and avoid bankruptcy, its creators recently turned to Netflix so that we could see this surreal proposal from the comfort of home. The play, from this same November, will be represented again at the Longacre theater. Although taking into account the criticism it has garnered, nothing suggests that it will be on the bill for too long. “If you care about Diana as a human being, or dignity as a concept, you will find this treatment of her life mortifying both aesthetically and morally,” reported The New York Times.

Jeanna de Waal starred in ‘Diana: The Musical’

Naomi Watts en ‘Diana’ (2013)

“Watts doesn’t look, sound or act anything like the Princess of Wales. Wesley Snipes in a blonde wig would be more convincing, ”the Daily Mirror went on to say. The Guardian also did not skimp on expletives: “Poor Diana. I am reluctant to use the term ‘cinematic accident’. But the truth is that, 16 years after that terrible day in 1997, he has suffered another horrible death. ” Among other reasons, Oliver Hirschbiegel’s feature film was vilified by critics and audiences because it considered the princess’s relationship with Dr. Hasnat Khan to be truthful. However, all the darts went against Watts, who was nominated for her first Razzie for this role. As much as he affirmed that “Diana gave me permission to interpret her from her grave,” the Hollywood star ended up regretting participating in this nonsense. “In the end there were problems with the film and it ended up taking a course that was not expected. Every time you take a risk you know you can fall. And if you have to sink with the team, then go ahead, “he admitted in 2014.

Naomi Watts turned Diana of Wales.

Genevieve O’Reilly en ‘Diana: Last Days of a Princess’ (2007)

This partially fictionalized docudrama, premiered on the US channel TLC, included interviews with Mohamed Al-Fayed, Dodi’s father, and editors of The Sunday Mirror. As its title indicates, it brought the spotlight on the fateful summer of 1997 and how the paparazzi they harassed the then couple. Against all odds, the critics liked it. Without going any further, The New York Times published: “Praising a docudrama about Diana can seem ridiculous, like giving a sculpture award to a wax museum. But even those who despise dissection post mortem of celebrities will have to admit that the knife has rarely cut more cleanly than in Diana: Last Days of a Princess. It does not deify the princess. He portrays her as needy, but manipulative; loving, but flawed. That is, as a human being. The scenes between Diana and Dodi are silly – at one point, he shows her the teddy bears from his childhood – but according to most of the testimonies, they were people who could be really silly ”.

Genevieve O’Reilly en ‘Diana: Last Days of a Princess’

Amy Seccombe en ‘Diana: A Tribute to the People’s Princess’ (1998)

As El País reported in early 1998, not everyone welcomed the green light for this television project focused on his relationship with Dodi Al-Fayed. Both had died just a few months before, so it was considered an equally unnecessary and morbid attempt to make cash. In reality, nobody remembers its existence or its main actress, Amy Seccombe, who after its premiere only participated in one more film. As if that were not enough, Diana’s own personal bodyguard, Ken Wharfe, declared last month in the Daily Mirror that this film “is the weakest” of all the ones that have ever been shot about Diana. If someone like him says so, we are nobody to question him.

Amy Seccombe en ‘Diana: A Tribute to the People’s Princess’.

Julie Cox in ‘A Princess in Love’ (1996)

Caryn James, the then film critic for The New York Times, wrote that this CBS movie was simply “horrible.” Although not so much because it was based on Anna Pasternak’s book that detailed the relationship between the princess and the horseman James Hewitt. Mainly, for its protagonist. “All the actors seem smarter and more handsome than their counterparts in real life, except Diana. Played by Julie Cox, an English actress, this Diana is mediocre looking and a goose. His height is short. His clothing is disheveled. Her hair seems to have been cut and spray painted in a beauty salon, ”the journalist pointed out maliciously.

Julie Cox was Diana in ‘A Princess in Love’. (Getty / Alamy)

Serena Scott Thomas in ‘Diana, Her True Story’ (1993)

In 1992 the world came to a standstill when Andrew Morton edited the book of the same title. Basically, because the journalist aired in him the confidences that Diana made him about her failed marriage to Prince Charles, Camilla Parker-Bowles, her suicide attempts or her fight against bulimia. With that juicy material, Sky One and NBC produced a melodramatic telefilm starring Serena Scott Thomas, which, in its day, The Sun newspaper described as “as shallow as a small child’s play pool.” The actress even said a few weeks ago in Elle magazine: “I didn’t think things through well when I accepted the role. Did it affect my career? Definitely. But above all, I feel great regret. I feel really bad for having participated in something that has caused pain to the royal family, as they do nothing but give their skin for us. I would do it again? No”.

Serena Scott Thomas in ‘Diana, her true story’.

Catherine Oxenberg in ‘The Royal Romance of Charles and Diana’ (1982)

The American actress, known for having played Amanda Carrington in Dynasty, landed the first role of his career in this film broadcast by CBS. Critics narrowly saved his performance. However, it was released just three days after Charles & Diana: A Royal Love Story (a very similar ABC production in which Caroline Bliss played Diana), played against her. Now, considering that Oxenberg is the daughter of Princess Elizabeth of Yugoslavia, the second cousin of the Prince of Wales himself, that brought him more than one problem. In a post he published ten years ago on his blog, he confessed that “I received a severe reprimand, in the form of a letter, from King Constantine II of Greece, who considered it disrespectful for me to pass myself off as Diana.” Also, in an interview she gave in 2019, she explained that since then she has not been invited to Buckingham Palace again. Precisely, the last time he was there was on July 27, 1981, two days before the wedding of Carlos and Diana.

Catherine Oxenberg faced her family to be Diana.

Many Thanks To The following Website For This Valuable Content.
The complicated challenge of being Diana of Wales: ten actresses who dared to put themselves in her shoes | Pleasures

) [5] => Array ( [title] => Twelve Minutes, analysis. Caught in the mini groundhog day [link] => https://debatepost.com/twelve-minutes-analysis-caught-in-the-mini-groundhog-day/ [dc] => Array ( [creator] => Susan Paul ) [pubdate] => Thu, 25 Nov 2021 18:19:53 +0000 [category] => Movie Production CompaniesAnalysisCaughtDayGroundhogMiniminutesTwelve [guid] => https://debatepost.com/twelve-minutes-analysis-caught-in-the-mini-groundhog-day/ [description] => Annapurna Interactive returns to the load with his usual bet on different games and with personality. The Portuguese Luis Antonio shows us in Twelve Minutes a thriller corseted spatially and temporally. An apartment, three characters and a short time loop in which to save and save oneself. Let’s see how this little box of surprises ... Read more [content] => Array ( [encoded] =>

Annapurna Interactive returns to the load with his usual bet on different games and with personality. The Portuguese Luis Antonio shows us in Twelve Minutes a thriller corseted spatially and temporally. An apartment, three characters and a short time loop in which to save and save oneself. Let’s see how this little box of surprises works.

Cinema as a starting point

There are several things that indicate the importance and weight of the author’s film culture in his work Twelve Minutes. Of course, the first thing that catches your eye is its elegant poster in the style of those made by Saul Bass (Vertigo, Anatomy of a murder …). But there is more, much more. As soon as we start to play we see the overhead shot of a hall. Our character has just got out of the elevator and is heading to his apartment. For any moviegoer, it is an impact to identify that the carpeting we walk through has the same patterns as the one that dressed the floors of the Overlook Hotel in El Resplandor. In those first seconds of the game, Luis Antonio is already telling us several things: cinema, Kubrick, tension, suspense, unhealthy detail in planning and developing mathematical accuracy … That the rest of the action takes place within the walls of our apartment once we are trapped in it, reveals the thoughtful choice of something that we are only going to see for a few seconds.

Surprising too the choice of actors to give voice to the characters. We are talking about leading figures in today’s cinema. Veteran William Dafoe, which we already saw in Beyond: two souls from Quantic Dream and whose performance in the film El Faro still resonates; Daisy Ridley, the Rey from the latest Star Wars trilogy; and James McAvoy, Dr. Xavier who brought freshness to the Xmen franchise by bringing with him the First Generation of mutants. Well, we say that this investment is surprising because the vision of the game is always from an overhead plane. There are no recognizable faces, the actors have worked with their voice, with their interpretation. Beyond the quality of the performances, which there is, the cinema here becomes a media claim rather than a narrative, thematic or background influence. Of course, those names do well in the opening credits.

And the video game as development and arrival: The eye of God becomes the eye of man

The eye of God (or the most secular A bird’s eye view), before being a cinematographic resource, was the name given to the cartography of enemy territory from airplanes in World War II, but also to recordings from the air of the bombings about troops and cities. The viewer of these images was that God does not intervene in the calamity of men.

In the cinema we could see this technique applied for the first time at the beginning of Nicolas Ray’s film They Live by Night (1948), where the speedy escape by car of criminals was shown, filming from a helicopter. It was Alfred Hitchcock who made the most of the Eye of God in many of his films, with Psychosis and Vertigo as distinguished examples. The aforementioned cases fit the emotional assumptions of Twelve Minutes in its quest to transmit tension and suspense. But there are other intentions in the use of this technique in the cinema. Martin Scorsese, for example, created a cool detachment from the action in the shocking finale of Taxi Driver, something HotLine Miami games directly drink with their aseptic and lacking empathy ultraviolence.

In videogames, the zenith perspective is a genre in itself since its inception. Like other resources such as lateral perspective, subjective vision and the use of the sequence shot, they are characteristics and game approaches assimilated to the medium beyond the pure narrative. In Twelve Minutes the intentionality is more filmic than video play. As in the ending of Taxi Driver, the initial sensation creates distance from the characters. In the game, although we control the actions of a protagonist, we do not know anything about him or his life. Thus, a certain balance is shown between filmic and interactive language. As we get into the story and it begins to depend on us to take advantage of the knowledge that we are obtaining from the situation, the balance passes almost completely to the video game … Although not totally: abandoning the coldness exhibited by Scorsese in Taxi Driver leads to the sheer tension of Hitchcock’s cinema as we go forward.

In the famous book Cinema according to Hitchcock, the teacher revealed to his young interviewer, the great French director Francois Truffaut, the difference between surprise and suspense. Imagine a room with two people chatting around a table. The cinema spectator contemplates the action from his armchair. After a short time, a bomb under the table explodes, killing the characters and leaving the audience dumbfounded. That is the surprise. Let’s see the same situation but initially informing the respectable that a bomb under the table is going to explode in a few minutes. The audience will live in tension all this time, stirring in their seats, shouting at the screen or to themselves: Get out of there, a bomb is going to explode! That is suspense. As well, Twelve Minutes is surprise in the first cycle of its loop and suspense in all the others. He gets the most valuable part of the British conductor’s teaching. Adapting Hitchcock’s conclusion to our terrain would be something like this:

In the first case, the player has been offered fifteen seconds of surprise at the end of the loop. In the second case, we offer you over and over again twelve minutes of suspense.

Exploiting with ease the mechanics live, die, repeat

Repetition learning is intrinsic to video games. These force us to continually try new actions, to memorize parameters, to fail and correct errors in the next game. The game Twelve Minutes has this in mind, but again relies on a film that is in the collective memory, Trapped in Time, popularly known as Groundhog Day. This influence admitted by the creator of the game told us how a character revived over and over the same day. We attend the infinite tests that the protagonist performs, first to escape the loop and, after accepting his perennial situation, experimenting with all the possibilities that occur to him. As passive spectators we observe for an hour and a half all those actions carried out by the protagonist following the written script. But What happens when we, the active players, are the victims of the loop?

What unites the intrinsic repetitive activity of the video game with its use as a narrative typical of the cinema is self-awareness from the character of the game, like the protagonist of Groundhog Day, from the loop in which he is locked. Mario does not ask himself why he died in his last action, the player who controls him does. On the contrary, the Link of Majora’s Mask aligns himself with whoever is in command. Both character and player are aware of the limited time, of its continuous restart, that there are mistakes to make and correct to end an eternal loop.

Twelve Minutes has been around for a long time. We can find an hour-long demonstration video on YouTube within the Giant Bomb channel. Dated in 2015, we can see there a fairly advanced game that already shows the keys to what we will find in the title released by Annapurna. We do not know what has happened in the last six years, how it took Twelve Minutes so long to see the light, but we do know that the idea before it was more ambitious. Consciously following the pattern set by Trapped in Time, the playing field was initially much wider, the time was much greater and the number of characters in line with those two parameters. Luis realized the complexity of that first idea and began to refine it to manageable margins within his possibilities.

An apartment with living room / kitchen, bedroom and bathroom; a marriage, which is in celebration, which is interrupted by the arrival of a violent policeman willing to arrest the wife for an old murder case. Twelve minutes in which the action takes place and that always ends in tragedy. Twelve minutes to solve the mystery that underpins everything. Of course, we will not tell more of the argument. We would do a disservice to the author and to you, potential future users of the game. What is remarkable at this point is the sensitivity of the abusive repetition that such a short period of time can entail.

On the one hand, we believe that the reduction in initial ambitions benefits the game. It becomes more intimate, closer, yes, but above all more effective in its mechanics, more focused. The game avoids boredom by opening up to our inquiries and progressive knowledge of the context, to the avenues of action that are opening up, to the possibilities that we are glimpsing.. It does not slow down by restarting every ten minutes, on the contrary, it accelerates, becomes stressed, urges. Since everything is so measured and atomized, each game is basically different with some necessary points in common. Here we dine quietly while I try to take the conversation to my land, there I manage to have for myself the little time I have to search the house from top to bottom.

The game therefore has a highly variable duration, although this does not exceed a few hours. And that’s okay, because longer than necessary would break your surprising ability to maintain interest by dodging the boredom trap. The Xbox One version, like the Series, lacks control with the controller. Although well implemented, it is more than known by all that point and click adventures, even as particular as this one, have always been handled better with the precision and speed of the mouse (the game is also available on PC). Even so, being such a small game space in which we soon find all the interactive elements, it takes little time to stop being a problem.

CONCLUSION

Annapurna once again confirms her good eye with different games and with personality. They take over a title here that had been polishing for years and seeking the shelter of a distributor. There is good money in Twelve Minutes invested in the famous voices of its three main characters, although the influence of the cinema is not in the presence of William Dafoe, Daisy Ridley and James McAvoy (the perspective of the game is overhead, we hardly appreciate some faces that have not been digitized). On the one hand, we have the assimilation and transformation of the Eye of God, in the manner of classic thrillers in film history, in purely interactive language; on the other, the wise application of suspense in the manner of the best Hitchcock. Luis Antonio, the author, has achieved a concentrated dose of tension and urgency by atomizing time and space. The game solvently avoids excessive repetition leading to boredom, the great stumbling block of time-loop mechanics. The only problem in that sense is that the frustration appears because we get stuck. Being common in point and click adventures, it can be enhanced by being on a train of reboots that never stops.

THE BEST

  • He endorses, through interaction, a strong cinematic influence.
  • Most of the time it dodges the boredom of a looping mechanic.
  • It manages to transmit continuous novelty despite its atomized and repetitive proposal … or precisely because of it.

WORST

  • Being a point and click adventure, the control on Xbox is slower and clumsier than on PC.
  • You do not know how to advance and the game passes you over and over again with its loop in eternal motion.

7.5

Well

It meets the expectations of what a good game is, it has quality and it does not present serious flaws, although it is missing elements that could have taken it to higher levels.

Many Thanks To The following Website For This Valuable Content.
Twelve Minutes, analysis. Caught in the mini groundhog day

) [summary] => Annapurna Interactive returns to the load with his usual bet on different games and with personality. The Portuguese Luis Antonio shows us in Twelve Minutes a thriller corseted spatially and temporally. An apartment, three characters and a short time loop in which to save and save oneself. Let’s see how this little box of surprises ... Read more [atom_content] =>

Annapurna Interactive returns to the load with his usual bet on different games and with personality. The Portuguese Luis Antonio shows us in Twelve Minutes a thriller corseted spatially and temporally. An apartment, three characters and a short time loop in which to save and save oneself. Let’s see how this little box of surprises works.

Cinema as a starting point

There are several things that indicate the importance and weight of the author’s film culture in his work Twelve Minutes. Of course, the first thing that catches your eye is its elegant poster in the style of those made by Saul Bass (Vertigo, Anatomy of a murder …). But there is more, much more. As soon as we start to play we see the overhead shot of a hall. Our character has just got out of the elevator and is heading to his apartment. For any moviegoer, it is an impact to identify that the carpeting we walk through has the same patterns as the one that dressed the floors of the Overlook Hotel in El Resplandor. In those first seconds of the game, Luis Antonio is already telling us several things: cinema, Kubrick, tension, suspense, unhealthy detail in planning and developing mathematical accuracy … That the rest of the action takes place within the walls of our apartment once we are trapped in it, reveals the thoughtful choice of something that we are only going to see for a few seconds.

Surprising too the choice of actors to give voice to the characters. We are talking about leading figures in today’s cinema. Veteran William Dafoe, which we already saw in Beyond: two souls from Quantic Dream and whose performance in the film El Faro still resonates; Daisy Ridley, the Rey from the latest Star Wars trilogy; and James McAvoy, Dr. Xavier who brought freshness to the Xmen franchise by bringing with him the First Generation of mutants. Well, we say that this investment is surprising because the vision of the game is always from an overhead plane. There are no recognizable faces, the actors have worked with their voice, with their interpretation. Beyond the quality of the performances, which there is, the cinema here becomes a media claim rather than a narrative, thematic or background influence. Of course, those names do well in the opening credits.

And the video game as development and arrival: The eye of God becomes the eye of man

The eye of God (or the most secular A bird’s eye view), before being a cinematographic resource, was the name given to the cartography of enemy territory from airplanes in World War II, but also to recordings from the air of the bombings about troops and cities. The viewer of these images was that God does not intervene in the calamity of men.

In the cinema we could see this technique applied for the first time at the beginning of Nicolas Ray’s film They Live by Night (1948), where the speedy escape by car of criminals was shown, filming from a helicopter. It was Alfred Hitchcock who made the most of the Eye of God in many of his films, with Psychosis and Vertigo as distinguished examples. The aforementioned cases fit the emotional assumptions of Twelve Minutes in its quest to transmit tension and suspense. But there are other intentions in the use of this technique in the cinema. Martin Scorsese, for example, created a cool detachment from the action in the shocking finale of Taxi Driver, something HotLine Miami games directly drink with their aseptic and lacking empathy ultraviolence.

In videogames, the zenith perspective is a genre in itself since its inception. Like other resources such as lateral perspective, subjective vision and the use of the sequence shot, they are characteristics and game approaches assimilated to the medium beyond the pure narrative. In Twelve Minutes the intentionality is more filmic than video play. As in the ending of Taxi Driver, the initial sensation creates distance from the characters. In the game, although we control the actions of a protagonist, we do not know anything about him or his life. Thus, a certain balance is shown between filmic and interactive language. As we get into the story and it begins to depend on us to take advantage of the knowledge that we are obtaining from the situation, the balance passes almost completely to the video game … Although not totally: abandoning the coldness exhibited by Scorsese in Taxi Driver leads to the sheer tension of Hitchcock’s cinema as we go forward.

In the famous book Cinema according to Hitchcock, the teacher revealed to his young interviewer, the great French director Francois Truffaut, the difference between surprise and suspense. Imagine a room with two people chatting around a table. The cinema spectator contemplates the action from his armchair. After a short time, a bomb under the table explodes, killing the characters and leaving the audience dumbfounded. That is the surprise. Let’s see the same situation but initially informing the respectable that a bomb under the table is going to explode in a few minutes. The audience will live in tension all this time, stirring in their seats, shouting at the screen or to themselves: Get out of there, a bomb is going to explode! That is suspense. As well, Twelve Minutes is surprise in the first cycle of its loop and suspense in all the others. He gets the most valuable part of the British conductor’s teaching. Adapting Hitchcock’s conclusion to our terrain would be something like this:

In the first case, the player has been offered fifteen seconds of surprise at the end of the loop. In the second case, we offer you over and over again twelve minutes of suspense.

Exploiting with ease the mechanics live, die, repeat

Repetition learning is intrinsic to video games. These force us to continually try new actions, to memorize parameters, to fail and correct errors in the next game. The game Twelve Minutes has this in mind, but again relies on a film that is in the collective memory, Trapped in Time, popularly known as Groundhog Day. This influence admitted by the creator of the game told us how a character revived over and over the same day. We attend the infinite tests that the protagonist performs, first to escape the loop and, after accepting his perennial situation, experimenting with all the possibilities that occur to him. As passive spectators we observe for an hour and a half all those actions carried out by the protagonist following the written script. But What happens when we, the active players, are the victims of the loop?

What unites the intrinsic repetitive activity of the video game with its use as a narrative typical of the cinema is self-awareness from the character of the game, like the protagonist of Groundhog Day, from the loop in which he is locked. Mario does not ask himself why he died in his last action, the player who controls him does. On the contrary, the Link of Majora’s Mask aligns himself with whoever is in command. Both character and player are aware of the limited time, of its continuous restart, that there are mistakes to make and correct to end an eternal loop.

Twelve Minutes has been around for a long time. We can find an hour-long demonstration video on YouTube within the Giant Bomb channel. Dated in 2015, we can see there a fairly advanced game that already shows the keys to what we will find in the title released by Annapurna. We do not know what has happened in the last six years, how it took Twelve Minutes so long to see the light, but we do know that the idea before it was more ambitious. Consciously following the pattern set by Trapped in Time, the playing field was initially much wider, the time was much greater and the number of characters in line with those two parameters. Luis realized the complexity of that first idea and began to refine it to manageable margins within his possibilities.

An apartment with living room / kitchen, bedroom and bathroom; a marriage, which is in celebration, which is interrupted by the arrival of a violent policeman willing to arrest the wife for an old murder case. Twelve minutes in which the action takes place and that always ends in tragedy. Twelve minutes to solve the mystery that underpins everything. Of course, we will not tell more of the argument. We would do a disservice to the author and to you, potential future users of the game. What is remarkable at this point is the sensitivity of the abusive repetition that such a short period of time can entail.

On the one hand, we believe that the reduction in initial ambitions benefits the game. It becomes more intimate, closer, yes, but above all more effective in its mechanics, more focused. The game avoids boredom by opening up to our inquiries and progressive knowledge of the context, to the avenues of action that are opening up, to the possibilities that we are glimpsing.. It does not slow down by restarting every ten minutes, on the contrary, it accelerates, becomes stressed, urges. Since everything is so measured and atomized, each game is basically different with some necessary points in common. Here we dine quietly while I try to take the conversation to my land, there I manage to have for myself the little time I have to search the house from top to bottom.

The game therefore has a highly variable duration, although this does not exceed a few hours. And that’s okay, because longer than necessary would break your surprising ability to maintain interest by dodging the boredom trap. The Xbox One version, like the Series, lacks control with the controller. Although well implemented, it is more than known by all that point and click adventures, even as particular as this one, have always been handled better with the precision and speed of the mouse (the game is also available on PC). Even so, being such a small game space in which we soon find all the interactive elements, it takes little time to stop being a problem.

CONCLUSION

Annapurna once again confirms her good eye with different games and with personality. They take over a title here that had been polishing for years and seeking the shelter of a distributor. There is good money in Twelve Minutes invested in the famous voices of its three main characters, although the influence of the cinema is not in the presence of William Dafoe, Daisy Ridley and James McAvoy (the perspective of the game is overhead, we hardly appreciate some faces that have not been digitized). On the one hand, we have the assimilation and transformation of the Eye of God, in the manner of classic thrillers in film history, in purely interactive language; on the other, the wise application of suspense in the manner of the best Hitchcock. Luis Antonio, the author, has achieved a concentrated dose of tension and urgency by atomizing time and space. The game solvently avoids excessive repetition leading to boredom, the great stumbling block of time-loop mechanics. The only problem in that sense is that the frustration appears because we get stuck. Being common in point and click adventures, it can be enhanced by being on a train of reboots that never stops.

THE BEST

  • He endorses, through interaction, a strong cinematic influence.
  • Most of the time it dodges the boredom of a looping mechanic.
  • It manages to transmit continuous novelty despite its atomized and repetitive proposal … or precisely because of it.

WORST

  • Being a point and click adventure, the control on Xbox is slower and clumsier than on PC.
  • You do not know how to advance and the game passes you over and over again with its loop in eternal motion.

7.5

Well

It meets the expectations of what a good game is, it has quality and it does not present serious flaws, although it is missing elements that could have taken it to higher levels.

Many Thanks To The following Website For This Valuable Content.
Twelve Minutes, analysis. Caught in the mini groundhog day

) [6] => Array ( [title] => 7 secrets of the Lord of the Rings saga that will surprise you [link] => https://debatepost.com/7-secrets-of-the-lord-of-the-rings-saga-that-will-surprise-you/ [dc] => Array ( [creator] => Susan Paul ) [pubdate] => Thu, 25 Nov 2021 18:18:37 +0000 [category] => Movie Production CompaniesLordRingssagaSecretssurprise [guid] => https://debatepost.com/7-secrets-of-the-lord-of-the-rings-saga-that-will-surprise-you/ [description] => «I never got it. I read the book. I read the script. I saw the movie. I still don’t understand… I would have been interested in doing something that I hadn’t fully understood, but not for 18 months». Do not worry, if you always wanted to know how it would have been, here we leave ... Read more [content] => Array ( [encoded] =>

«I never got it. I read the book. I read the script. I saw the movie. I still don’t understand… I would have been interested in doing something that I hadn’t fully understood, but not for 18 months».

Do not worry, if you always wanted to know how it would have been, here we leave you a deepfake.

2. Nobody knows what happened to the blue wizards

One of the greatest secrets in the history of The Lord of the rings it will remain a secret forever.

According to the canon of history there are 5 wizards: Saruman the White, Gandalf the Gray, Radagast the Brown, and Alatar and Pallando, the blue wizards.

But no one knows where these last two are, or what became of them. They marched to the Far East of Middle-earth and it was never known again.

3. Aragorn was originally a hobbit

Seriously, Tolkien’s early drafts show that the initial ideas went through the fact that he was a hobbit, although without ceasing to be a Ranger.

In fact, in one of the possible discarded stories, also he was a lost relative of Bilbo.

4. Nicholas Cage could have been Aragorn

Not only did Connery pass up the role of his life, he was also an idol of the El Output staff: the unequaled Nicholas Cage, who turned down the role because of family obligations.

Jason Patric and Russell Crowe were also in the bedroom if Viggo Mortensen had said no.

5. Where are the Ents’ wives?

Nobody knowsSo maybe they’re with the blue wizards.

Because another of the unsolved secrets of the story is that all the wives of the Ents (the legendary great tree-like beings that destroyed Isengard) disappeared without a trace, condemning their husbands to a life of loneliness.

6. The shoot was full of injuries… and in danger of being blown up

Battle of the Black Gate

Every good fan knows that Viggo Mortensen is broke a foot He kicks a helmet and that scene is intact in the movie, so he’s not acting when he screams. But besides that, Sean Astin (Sam) stabbed his foot with a glass, Orlando Bloom (Legolas) broke a rib when he fell off a horse and Gimli double landed on him. And of course, Mortensen repeated with a broken tooth filming a fight.

But, in addition, the scene of the final battle at the Black Gate was filmed at a New Zealand army shooting range … that still had mines.

Mortensen and a couple of actors stepped out of the designated safety zone with their horses and everyone held their breath, given Viggo’s luck on the set.

7. There was to be a continuation of the story, but it was too depressing

And it is that Tolkien began to write history The New Shadow, set a century after the events of The return of the King. However, he barely advanced several pages.

The reason? He himself thought it was too depressing. Apparently, everything revolved around a conspiracy about a secret satanic religion.

They are not the only ones, but some are the most curious. And it is that, as you have seen, The Lord of the rings It has a lot of secrets and nooks and crannies that further enrich the story.

Many Thanks To The following Website For This Valuable Content.
7 secrets of the Lord of the Rings saga that will surprise you

) [summary] => «I never got it. I read the book. I read the script. I saw the movie. I still don’t understand… I would have been interested in doing something that I hadn’t fully understood, but not for 18 months». Do not worry, if you always wanted to know how it would have been, here we leave ... Read more [atom_content] =>

«I never got it. I read the book. I read the script. I saw the movie. I still don’t understand… I would have been interested in doing something that I hadn’t fully understood, but not for 18 months».

Do not worry, if you always wanted to know how it would have been, here we leave you a deepfake.

2. Nobody knows what happened to the blue wizards

One of the greatest secrets in the history of The Lord of the rings it will remain a secret forever.

According to the canon of history there are 5 wizards: Saruman the White, Gandalf the Gray, Radagast the Brown, and Alatar and Pallando, the blue wizards.

But no one knows where these last two are, or what became of them. They marched to the Far East of Middle-earth and it was never known again.

3. Aragorn was originally a hobbit

Seriously, Tolkien’s early drafts show that the initial ideas went through the fact that he was a hobbit, although without ceasing to be a Ranger.

In fact, in one of the possible discarded stories, also he was a lost relative of Bilbo.

4. Nicholas Cage could have been Aragorn

Not only did Connery pass up the role of his life, he was also an idol of the El Output staff: the unequaled Nicholas Cage, who turned down the role because of family obligations.

Jason Patric and Russell Crowe were also in the bedroom if Viggo Mortensen had said no.

5. Where are the Ents’ wives?

Nobody knowsSo maybe they’re with the blue wizards.

Because another of the unsolved secrets of the story is that all the wives of the Ents (the legendary great tree-like beings that destroyed Isengard) disappeared without a trace, condemning their husbands to a life of loneliness.

6. The shoot was full of injuries… and in danger of being blown up

Battle of the Black Gate

Every good fan knows that Viggo Mortensen is broke a foot He kicks a helmet and that scene is intact in the movie, so he’s not acting when he screams. But besides that, Sean Astin (Sam) stabbed his foot with a glass, Orlando Bloom (Legolas) broke a rib when he fell off a horse and Gimli double landed on him. And of course, Mortensen repeated with a broken tooth filming a fight.

But, in addition, the scene of the final battle at the Black Gate was filmed at a New Zealand army shooting range … that still had mines.

Mortensen and a couple of actors stepped out of the designated safety zone with their horses and everyone held their breath, given Viggo’s luck on the set.

7. There was to be a continuation of the story, but it was too depressing

And it is that Tolkien began to write history The New Shadow, set a century after the events of The return of the King. However, he barely advanced several pages.

The reason? He himself thought it was too depressing. Apparently, everything revolved around a conspiracy about a secret satanic religion.

They are not the only ones, but some are the most curious. And it is that, as you have seen, The Lord of the rings It has a lot of secrets and nooks and crannies that further enrich the story.

Many Thanks To The following Website For This Valuable Content.
7 secrets of the Lord of the Rings saga that will surprise you

) [7] => Array ( [title] => ‘True Story’ Creator Explains How He Pulled Off Chris Hemsworth Cameo [link] => https://debatepost.com/true-story-creator-explains-how-he-pulled-off-chris-hemsworth-cameo/ [dc] => Array ( [creator] => Susan Paul ) [pubdate] => Thu, 25 Nov 2021 17:40:37 +0000 [category] => TrendingCameoChriscreatorexplainsHemsworthpulledStoryTrue [guid] => https://debatepost.com/true-story-creator-explains-how-he-pulled-off-chris-hemsworth-cameo/ [description] => Chris Hemsworth appears in a fictional movie in Kevin Hart’s new Netflix series, “True Story.” “True Story” creator Eric Newman got Hemsworth because he’s producing his next movie, “Escape from Spiderhead.” “Interesting fact: that was the first footage we shot of ‘True Story,'” Newman told Insider. Loading Something is loading. Netflix ‘s limited series “True ... Read more [content] => Array ( [encoded] =>
  • Chris Hemsworth appears in a fictional movie in Kevin Hart’s new Netflix series, “True Story.”
  • “True Story” creator Eric Newman got Hemsworth because he’s producing his next movie, “Escape from Spiderhead.”
  • “Interesting fact: that was the first footage we shot of ‘True Story,'” Newman told Insider.

Netflix

‘s limited series “True Story” already has a lot of star power thanks to Kevin Hart and Wesley Snipes in the lead roles as brothers who are trying to cover up a murder. But in the second episode, the show hits new heights when Chris Hemsworth shows up.

In the show, Hart plays Kid, one of the biggest comics on the planet who is also the star of a blockbuster that is about to make $1 billion.

Episode two starts with Kid at a Boys & Girls Club screening his blockbuster movie. The kids watch as a scene in the movie features Kid’s character showing off superpowers. Out of nowhere, a wall explodes in the scene to reveal Chris Hemsworth is Kid’s costar in the movie. The kids all cheer.

“True Story” creator Eric Newman said getting the star of the “Thor” movies to do a cameo was possible because Newman was in the middle of producing Hemsworth’s upcoming Netflix movie, “Escape from Spiderhead.”

escape from spiderhead netflix

“Escape from Spiderhead.”

Netflix


“I was making the movie with Hemsworth at the time in Australia,” Newman told Insider.

“Interesting fact: that was the first footage we shot of ‘True Story,'” he continued. “We were shooting ‘Spiderhead’ and I asked if he’d do it and he said, ‘Absolutely.'”

Newman said Hemsworth shot the wall breaking cameo for “True Story” during a break from shooting the


streaming

giant’s next big futuristic thriller that also stars Jurnee Smollett, Miles Teller, and is written by the screenwriters behind the “Deadpool” movies. And the “Escape from Spiderhead” director even got involved.

“It was all done on our soundstage, and Joe Kosinski directed that shot,” Newman said.

“True Story” is currently available on Netflix.

) [summary] => Chris Hemsworth appears in a fictional movie in Kevin Hart’s new Netflix series, “True Story.” “True Story” creator Eric Newman got Hemsworth because he’s producing his next movie, “Escape from Spiderhead.” “Interesting fact: that was the first footage we shot of ‘True Story,'” Newman told Insider. Loading Something is loading. Netflix ‘s limited series “True ... Read more [atom_content] =>
  • Chris Hemsworth appears in a fictional movie in Kevin Hart’s new Netflix series, “True Story.”
  • “True Story” creator Eric Newman got Hemsworth because he’s producing his next movie, “Escape from Spiderhead.”
  • “Interesting fact: that was the first footage we shot of ‘True Story,'” Newman told Insider.

Netflix

‘s limited series “True Story” already has a lot of star power thanks to Kevin Hart and Wesley Snipes in the lead roles as brothers who are trying to cover up a murder. But in the second episode, the show hits new heights when Chris Hemsworth shows up.

In the show, Hart plays Kid, one of the biggest comics on the planet who is also the star of a blockbuster that is about to make $1 billion.

Episode two starts with Kid at a Boys & Girls Club screening his blockbuster movie. The kids watch as a scene in the movie features Kid’s character showing off superpowers. Out of nowhere, a wall explodes in the scene to reveal Chris Hemsworth is Kid’s costar in the movie. The kids all cheer.

“True Story” creator Eric Newman said getting the star of the “Thor” movies to do a cameo was possible because Newman was in the middle of producing Hemsworth’s upcoming Netflix movie, “Escape from Spiderhead.”

escape from spiderhead netflix

“Escape from Spiderhead.”

Netflix


“I was making the movie with Hemsworth at the time in Australia,” Newman told Insider.

“Interesting fact: that was the first footage we shot of ‘True Story,'” he continued. “We were shooting ‘Spiderhead’ and I asked if he’d do it and he said, ‘Absolutely.'”

Newman said Hemsworth shot the wall breaking cameo for “True Story” during a break from shooting the


streaming

giant’s next big futuristic thriller that also stars Jurnee Smollett, Miles Teller, and is written by the screenwriters behind the “Deadpool” movies. And the “Escape from Spiderhead” director even got involved.

“It was all done on our soundstage, and Joe Kosinski directed that shot,” Newman said.

“True Story” is currently available on Netflix.

) [8] => Array ( [title] => Jeremy Renner Says He Can’t Rewatch Avengers: Endgame [link] => https://debatepost.com/jeremy-renner-says-he-cant-rewatch-avengers-endgame/ [dc] => Array ( [creator] => Susan Paul ) [pubdate] => Thu, 25 Nov 2021 17:39:42 +0000 [category] => TrendingavengersEndgameJeremyRennerReWatch [guid] => https://debatepost.com/jeremy-renner-says-he-cant-rewatch-avengers-endgame/ [description] => Jeremy Renner has watched Avengers: Endgame only once and doesn’t intend to watch it again. Talking to BBC Radio 1, Hawkeye’s star remembered watching the movie with his Avengers colleagues for the first time, an emotional experience he’s not ready to repeat any time soon. Avengers: Endgame was the final chapter of the three first ... Read more [content] => Array ( [encoded] =>

Jeremy Renner has watched Avengers: Endgame only once and doesn’t intend to watch it again. Talking to BBC Radio 1, Hawkeye’s star remembered watching the movie with his Avengers colleagues for the first time, an emotional experience he’s not ready to repeat any time soon.

Avengers: Endgame was the final chapter of the three first Phases of the Marvel Cinematic Universe, a story now known as The Infinity Saga. Endgame led the Avengers in their final battle against Thanos for the control of the Infinity Stones, and, on their way to victory, they ended up sacrificing many friends. Including Renner’s Hawkeye, the original Avengers team consisted of Robert Downey Jr.’s Iron Man, Chris Evans’ Captain America, Scarlett Johansson’s Black Widow, Mark Ruffalo’s Hulk, and Chris Hemsworth’s Thor. Endgame killed Black Widow and Iron Man while also retiring Captain America, cutting the original team in half. So, it’s easy to understand how the film would move the cast.

As Renner describes his one and only screening of Endgame:

“I saw it at the premiere, but that was just something to celebrate for all of us. We were all laughing and weeping, and it was a lot, it was a lot to do. I’ll never watch that again. It was a difficult experience. We were all just a sobbing mess and we’re laughing. It’s amazing, we were like audience members, and that was awesome to experience. That was a lovely, beautiful experience to share.”

hawkeye-avenger-endgame

Image via Marvel Studios

RELATED:‌ ‘Hawkeye’: Kevin Feige, Jeremy Renner, Hailee Steinfeld, and Rhys Thomas on Why It’s a Series, The Avengers Musical, and Nods to the Comics

COLLIDER VIDEO OF THE DAY

The emotional overload of watching Avengers: Endgame might also be related to the friendship the cast forged on set. Recently, Renner confirmed the original chat group the six original Avengers created while filming 2012’s Avengers is still used by the whole team to give each other news about their personal lives. And since the three remaining original Avengers are involved with the origin story of their possible replacements in the MCU, the chat group might be all that remains in the next couple of years.

Hulk is set to come back to the She-Hulk series in 2022, which might retire the Emerald Giant in favor of his cousin. As for Thor, the God of Thunder will pass on the hammer to Natalie Portman’s Jane Foster in Thor: Love and Thunder. Finally, Hawkeye will be training his replacement in his titular series, which debuted this week on Disney+.

Hawkeye stars Hailee Steinfeld as Kate Bishop, Alaqua Cox as Echo, Vera Farmiga as Kate’s mom Eleanor Bishop, Tony Dalton as Jack Duquesne, Florence Pugh as Yelena Belova, and Linda Cardellini as Laura Barton. The six-episode Christmas adventure is inspired by the work of David Aja and Matt Fraction on their 2012 Hawkeye comic book series.

Hawkeye debuted its first two episodes yesterday exclusively on Disney+. New episodes will come out weekly every Wednesday. Check Renner’s full interview for BBC Radio 1 below.


hawkeye-hailee-steinfeld-jeremy-renner-new-image-social-featured
‘Hawkeye’ Review: Jeremy Renner, Hailee Steinfeld-Led Show Is a Charming Holiday Tale Worth the Wait

How could a show with Pizza Dog be bad?

Read Next


About The Author

Many Thanks To The following Website For This Valuable Content.
Jeremy Renner Says He Can’t Rewatch Avengers: Endgame

) [summary] => Jeremy Renner has watched Avengers: Endgame only once and doesn’t intend to watch it again. Talking to BBC Radio 1, Hawkeye’s star remembered watching the movie with his Avengers colleagues for the first time, an emotional experience he’s not ready to repeat any time soon. Avengers: Endgame was the final chapter of the three first ... Read more [atom_content] =>

Jeremy Renner has watched Avengers: Endgame only once and doesn’t intend to watch it again. Talking to BBC Radio 1, Hawkeye’s star remembered watching the movie with his Avengers colleagues for the first time, an emotional experience he’s not ready to repeat any time soon.

Avengers: Endgame was the final chapter of the three first Phases of the Marvel Cinematic Universe, a story now known as The Infinity Saga. Endgame led the Avengers in their final battle against Thanos for the control of the Infinity Stones, and, on their way to victory, they ended up sacrificing many friends. Including Renner’s Hawkeye, the original Avengers team consisted of Robert Downey Jr.’s Iron Man, Chris Evans’ Captain America, Scarlett Johansson’s Black Widow, Mark Ruffalo’s Hulk, and Chris Hemsworth’s Thor. Endgame killed Black Widow and Iron Man while also retiring Captain America, cutting the original team in half. So, it’s easy to understand how the film would move the cast.

As Renner describes his one and only screening of Endgame:

“I saw it at the premiere, but that was just something to celebrate for all of us. We were all laughing and weeping, and it was a lot, it was a lot to do. I’ll never watch that again. It was a difficult experience. We were all just a sobbing mess and we’re laughing. It’s amazing, we were like audience members, and that was awesome to experience. That was a lovely, beautiful experience to share.”

hawkeye-avenger-endgame

Image via Marvel Studios

RELATED:‌ ‘Hawkeye’: Kevin Feige, Jeremy Renner, Hailee Steinfeld, and Rhys Thomas on Why It’s a Series, The Avengers Musical, and Nods to the Comics

COLLIDER VIDEO OF THE DAY

The emotional overload of watching Avengers: Endgame might also be related to the friendship the cast forged on set. Recently, Renner confirmed the original chat group the six original Avengers created while filming 2012’s Avengers is still used by the whole team to give each other news about their personal lives. And since the three remaining original Avengers are involved with the origin story of their possible replacements in the MCU, the chat group might be all that remains in the next couple of years.

Hulk is set to come back to the She-Hulk series in 2022, which might retire the Emerald Giant in favor of his cousin. As for Thor, the God of Thunder will pass on the hammer to Natalie Portman’s Jane Foster in Thor: Love and Thunder. Finally, Hawkeye will be training his replacement in his titular series, which debuted this week on Disney+.

Hawkeye stars Hailee Steinfeld as Kate Bishop, Alaqua Cox as Echo, Vera Farmiga as Kate’s mom Eleanor Bishop, Tony Dalton as Jack Duquesne, Florence Pugh as Yelena Belova, and Linda Cardellini as Laura Barton. The six-episode Christmas adventure is inspired by the work of David Aja and Matt Fraction on their 2012 Hawkeye comic book series.

Hawkeye debuted its first two episodes yesterday exclusively on Disney+. New episodes will come out weekly every Wednesday. Check Renner’s full interview for BBC Radio 1 below.


hawkeye-hailee-steinfeld-jeremy-renner-new-image-social-featured
‘Hawkeye’ Review: Jeremy Renner, Hailee Steinfeld-Led Show Is a Charming Holiday Tale Worth the Wait

How could a show with Pizza Dog be bad?

Read Next


About The Author

Many Thanks To The following Website For This Valuable Content.
Jeremy Renner Says He Can’t Rewatch Avengers: Endgame

) [9] => Array ( [title] => Emerging Filmmaker ‘WINTER DUNN’ Named Recipient of Amazon Studios Film Fellowship Grant [link] => https://debatepost.com/emerging-filmmaker-winter-dunn-named-recipient-of-amazon-studios-film-fellowship-grant/ [dc] => Array ( [creator] => Susan Paul ) [pubdate] => Thu, 25 Nov 2021 17:28:26 +0000 [category] => Movie Production CompaniesAmazonDUNNEmergingFellowshipfilmFilmmakerGrantNamedRecipientStudioswinter [guid] => https://debatepost.com/emerging-filmmaker-winter-dunn-named-recipient-of-amazon-studios-film-fellowship-grant/ [description] => JEZEBEL producer turned director, Winter Dunn, was recently selected from Film Independent’s Project Involve cohort for a $10,000 grant to develop a new film project through the 2021 Amazon Studios Film Fellowship for her directorial work on the upcoming short film, DEAR MAMA. The award, given to one member of the Film Independent program recognized ... Read more [content] => Array ( [encoded] =>

JEZEBEL producer turned director, Winter Dunn, was recently selected from Film Independent’s Project Involve cohort for a $10,000 grant to develop a new film project through the 2021 Amazon Studios Film Fellowship for her directorial work on the upcoming short film, DEAR MAMA. The award, given to one member of the Film Independent program recognized as a ‘visionary filmmaker’, was announced at the Project Involve First Look Screening, which showcased seven shorts by this year’s Project Involve fellows at the Director’s Guild of America (DGA) Theater on November 11, 2021.

The Color Creative filmmaker made her directorial debut with the short film JUNEBUG in 2020, which is now streaming on Issa Rae’s HOORAE. Dunn’s second directorial project, Dear Mama.., stars Mikayla Lashae Bartholomew (King Richard) and Garland Scott (Bullet Train, The Ghost Who Walks). The short film is set to publicly premiere in 2022 in the film festival circuit.

Click Here to Watch Director/Producer Winter Dunn’s “Junebug” Interview with Blackfilm.com

In true student of the craft and multi-hyphenate director-producer-actor form, Winter plans to apply the grant award toward her professional development as a filmmaker and to support opportunities to collaborate with other established and emerging creatives.

LOS ANGELES, CALIFORNIA – NOVEMBER 11: Filmmaker Winter Dunn attends the Film Independent Project Involve Showcase at the DGA Theater Complex on November 11, 2021 in Los Angeles, California. (Photo by Amanda Edwards/Getty Images)
Winter Dunn
Mikayla Lashae Bartholomew, Filmmaker Winter Dunn and Garland Scott

Director’s Bio

Winter Dunn

Winter Dunn is an award-winning producer, director and actress hailing from Gary, IN with a passion for depicting rich Black stories. She produced Numa Perrier’s debut feature film, JEZEBEL which premiered at SXSW 2019, won Best Narrative Feature at the American Black Film Festival and is currently streaming on Netflix via Ava DuVernay’s ARRAY. The multi-hyphenate filmmaker made her directorial debut with the award-winning short film JUNEBUG which premiered at American Black Film Festival, made its television debut on FOX Soul and is currently streaming on Tubi andIssa Rae Presents/Hoorae.

Dunn has directed multiple web series and runs a full-service Los Angeles based multimedia production house, Winter Dunn Productions (WDP). She also directed the first season of “All Her with Angela Rye” for Quibi, a documentary series, produced by Overbrook Entertainment.

Previously, Winter served as a producer/director for the global media company Condé Nast Entertainment. Her celebrity video features for Vanity Fair, Vogue, Architectural Digest, GQ, Allure and other media brands have garnered over 60 million views and counting.

Dunn graduated from the Chicago Academy for the Arts and holds a Bachelor of Arts degree in Theatre from Fordham University. She is the 2021 recipient of the Amazon Studios Fellowship grant, awarded yearly to a visionary filmmaker through Film Independent’s Project Involve Directing Fellowship and is currently represented by Issa Rae’s ColorCreative.

Director’s Statement

DEAR MAMA is a powerful story about grief and a teenager who is forced to figure out how to move on without the support and understanding of her mother. We meet Tanisha and her dad Nate on the night of packing up their family home, forcing them to answer the question, “What do we do with mom’s stuff?” This story touches me deeply because it deals with themes that we’re all familiar with while bringing focus to Black family and hip hop music.

As a Black woman and a lover of hip hop, I have never seen a story that centers a young black girl actively working through her pain using hip hop as a place of comfort. In the early 90’s, there were many misconceptions about the music and the effects it would have on our youth. We see that Tanisha has found a connection to her mother through the music and fights for that despite resistance from her absent father. I believe there are many people who have had to find their own ways of grieving and eventually healing. I hope each of those people see themselves in this film.

Behind the Scene Photos of DEAR MAMA..

Many Thanks To The following Website For This Valuable Content.
Emerging Filmmaker ‘WINTER DUNN’ Named Recipient of Amazon Studios Film Fellowship Grant

) [summary] => JEZEBEL producer turned director, Winter Dunn, was recently selected from Film Independent’s Project Involve cohort for a $10,000 grant to develop a new film project through the 2021 Amazon Studios Film Fellowship for her directorial work on the upcoming short film, DEAR MAMA. The award, given to one member of the Film Independent program recognized ... Read more [atom_content] =>

JEZEBEL producer turned director, Winter Dunn, was recently selected from Film Independent’s Project Involve cohort for a $10,000 grant to develop a new film project through the 2021 Amazon Studios Film Fellowship for her directorial work on the upcoming short film, DEAR MAMA. The award, given to one member of the Film Independent program recognized as a ‘visionary filmmaker’, was announced at the Project Involve First Look Screening, which showcased seven shorts by this year’s Project Involve fellows at the Director’s Guild of America (DGA) Theater on November 11, 2021.

The Color Creative filmmaker made her directorial debut with the short film JUNEBUG in 2020, which is now streaming on Issa Rae’s HOORAE. Dunn’s second directorial project, Dear Mama.., stars Mikayla Lashae Bartholomew (King Richard) and Garland Scott (Bullet Train, The Ghost Who Walks). The short film is set to publicly premiere in 2022 in the film festival circuit.

Click Here to Watch Director/Producer Winter Dunn’s “Junebug” Interview with Blackfilm.com

In true student of the craft and multi-hyphenate director-producer-actor form, Winter plans to apply the grant award toward her professional development as a filmmaker and to support opportunities to collaborate with other established and emerging creatives.

LOS ANGELES, CALIFORNIA – NOVEMBER 11: Filmmaker Winter Dunn attends the Film Independent Project Involve Showcase at the DGA Theater Complex on November 11, 2021 in Los Angeles, California. (Photo by Amanda Edwards/Getty Images)
Winter Dunn
Mikayla Lashae Bartholomew, Filmmaker Winter Dunn and Garland Scott

Director’s Bio

Winter Dunn

Winter Dunn is an award-winning producer, director and actress hailing from Gary, IN with a passion for depicting rich Black stories. She produced Numa Perrier’s debut feature film, JEZEBEL which premiered at SXSW 2019, won Best Narrative Feature at the American Black Film Festival and is currently streaming on Netflix via Ava DuVernay’s ARRAY. The multi-hyphenate filmmaker made her directorial debut with the award-winning short film JUNEBUG which premiered at American Black Film Festival, made its television debut on FOX Soul and is currently streaming on Tubi andIssa Rae Presents/Hoorae.

Dunn has directed multiple web series and runs a full-service Los Angeles based multimedia production house, Winter Dunn Productions (WDP). She also directed the first season of “All Her with Angela Rye” for Quibi, a documentary series, produced by Overbrook Entertainment.

Previously, Winter served as a producer/director for the global media company Condé Nast Entertainment. Her celebrity video features for Vanity Fair, Vogue, Architectural Digest, GQ, Allure and other media brands have garnered over 60 million views and counting.

Dunn graduated from the Chicago Academy for the Arts and holds a Bachelor of Arts degree in Theatre from Fordham University. She is the 2021 recipient of the Amazon Studios Fellowship grant, awarded yearly to a visionary filmmaker through Film Independent’s Project Involve Directing Fellowship and is currently represented by Issa Rae’s ColorCreative.

Director’s Statement

DEAR MAMA is a powerful story about grief and a teenager who is forced to figure out how to move on without the support and understanding of her mother. We meet Tanisha and her dad Nate on the night of packing up their family home, forcing them to answer the question, “What do we do with mom’s stuff?” This story touches me deeply because it deals with themes that we’re all familiar with while bringing focus to Black family and hip hop music.

As a Black woman and a lover of hip hop, I have never seen a story that centers a young black girl actively working through her pain using hip hop as a place of comfort. In the early 90’s, there were many misconceptions about the music and the effects it would have on our youth. We see that Tanisha has found a connection to her mother through the music and fights for that despite resistance from her absent father. I believe there are many people who have had to find their own ways of grieving and eventually healing. I hope each of those people see themselves in this film.

Behind the Scene Photos of DEAR MAMA..

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Emerging Filmmaker ‘WINTER DUNN’ Named Recipient of Amazon Studios Film Fellowship Grant

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