Hulu launching original films from 20th Century Studios & Searchlight

Following the large successes of projects such as Palm Springs, Bad Hair and Run earlier this year, Hulu President Kelly Campbell revealed at the Disney Investors Day presentation that the streaming platform would be expanding its original film library with new titles co-produced with newly-acquired 20th Century Studios and Searchlight Pictures, with a promise to reveal more in the coming months.

In addition to the new original films, Campbell also revealed that ESPN+ and all of its content will be available to view through Hulu, with users being able to sign in or link their accounts directly through the streaming platform.

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Disney+ unveils Star channel for mature audiences

With 20th Century Fox under their wing, Disney is finally expanding their streaming platform Disney+ with all of the more mature content from the banner under a new tile known as Star that will include everything from Family Guy to Atlanta, Logan, Kingsman and more!

As announced during today’s Investors presentation, all audiences have to do will be to log in to the streaming platform and head to the options and opt into the tile and set a password that will ensure younger viewers can avoid watching such programming accidentally.

In addition, Star+ will launch as a separate streaming platform in Latin America offering general entertainment TV shows, movies, local originals and live sports from ESPN including soccer leagues, grand slam tennis and more in June 2021.

The new Star tile is set to launch on Disney+ free of charge in most major markets on February 23, 2021, with debuts in Japan and South Korea later in the year.

More to come…

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Raya and the Last Dragon to Debut Simultaneously in Theaters & on Disney+ with Premier Access

During Disney’s Investor Day stream today it was announced that Walt Disney Animation Studios’ Raya and the Last Dragon will be arriving in theaters and on Disney+ with Premier Access on March 5, 2021.

Welcome to the Kingdom of Kumandra. Raya and the Last Dragon is coming to theaters and on #DisneyPlus with Premier Access on March 5, 2021. #DisneyRaya pic.twitter.com/tF94qRTo0E

— Disney (@Disney) December 10, 2020

RELATED: Raya and the Last Dragon Teaser Introduces Disney’s New Badass Hero

Long ago, in the fantasy world of Kumandra, humans and dragons lived together in harmony. But when an evil force threatened the land, the dragons sacrificed themselves to save humanity. Now, 500 years later, that same evil has returned and it’s up to a lone warrior, Raya, to track down the legendary last dragon to restore the fractured land and its divided people. However, along her journey, she’ll learn that it’ll take more than a dragon to save the world—it’s going to take trust and teamwork as well.

Raya and the Last Dragon will be led by Kelly Marie Tran (Star Wars: The Last Jedi), who will be the first Southeast Asian to lead a Disney animated film. The titular role was originally set to be voiced by Cassie Steele (Rick and Morty), but the filmmakers and studio have chosen to adjust their vision and bring Tran in as the lead star, joining the previously cast Awkwafina (The Farewell), who is starring as a dragon in human form named Sisu.

RELATED: 10 Marvel and Star Wars Series in the Works at Disney+

Raya and the Last Dragon is co-directed by Don Hall (Big Hero 6), Carlos López Estrada (Blindspotting), Paul Briggs (Zootopia) and John Ripa from a script written by Adele Lim (Crazy Rich Asians) and Qui Nguyen.

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Jurassic Park Scribe David Koepp to Pen The Green Hornet and Kato

Screenwriter David Koepp (Jurassic Park, Spider-Man, Mission: Impossible) is set to pen the screenplay for Univeral Pictures and Amasia Entertainment’s The Green Hornet and Kato movie, according to TheWrap. It was announced back in April that the project was in development after Universal optioned the rights to the characters.

RELATED: Nobody Trailer: Bob Odenkirk Gives John Wick a Run for His Money

The characters were first created by George W. Trendle and Fran Striker in 1936. The Green Hornet was one of early radio’s most popular adventure shows, predating Superman, before being turned into 1940s movie serials from Universal. A 1966 TV series, distributed by 20th Century Fox TV, followed, introducing Bruce Lee (Kato) to the United States. The story centered around Britt Reid owner/publisher of The Daily Sentinel. Armed with knowledge from his sources, cool weapons, a supercar known as The Black Beauty, and teaming with his trusty aide Kato, Reid became The Green Hornet, a vigilante crime fighter wanted by the police and feared by the criminal world.

In 2011, Evan Goldberg and star Seth Rogen adapted and executive produced the action-comedy The Green Hornet, also starring Jay Chou, grossing $227.8 million at the worldwide box office.

RELATED: Universal, James Wan & Julius Avery Team for New Van Helsing

Michael Helfant and Bradley Gallo will produce the film for Amasia Entertainment. Universal’s Senior Vice President of Production Sara Scott and Director of Development Lexi Barta will oversee the project.

(Photo by Dave J Hogan/Getty Images)

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Don’t Look Up: Chris Evans Joins Adam McKay’s Netflix Film

According to Deadline, MCU alum Chris Evans (Avengers: Endgame, Knives Out, Defending Jacob) has joined Adam McKay’s upcoming Netflix comedy Don’t Look Up, expanding the A-list ensemble cast. Details regarding Evans’ character in the project are being kept under wraps.

RELATED: True Story: Kevin Hart & Wesley Snipes to Play Brothers in Netflix Limited Series

The film, which is being written and directed by McKay (Vice, The Big Short), will center on two low-level astronomers who have to embark on a media tour around the globe in an effort to warn mankind of an approaching asteroid that is going to destroy Earth.

The cast for the film will be led by Leonardo DiCaprio (Once Upon a Time in Hollywood) and Jennifer Lawrence (Dark Phoenix) as the central astronomers alongside Meryl Streep (The Prom), Jonah Hill (The Beach Bum), Himesh Patel (Yesterday), Timothée Chalamet (Dune), Cate Blanchett (Where’d You Go, Bernadette?), Rob Morgan (Luke Cage), Tyler Perry (Gone Girl, Vice), Melanie Lynskey (Castle Rock, Mrs. America), and Ron Perlman (Hellboy, Monster Hunter). The Netflix film will also feature a number of cameos including Ariana Grande (Kidding), Kid Cudi (Bill & Ted Face the Music), Matthew Perry (Friends), and Tomer Sisley (Messiah).

McKay has had a successful run in the satire genre over the past few years, earning one Oscar nomination and one win for 2016’s The Big Short and three Oscar nominations for 2018’s Vice, including Best Picture. The 52-year-old filmmaker will produce the project alongside partner Kevin Messick via their productions banner Hyperobject Industries.

RELATED: History of Swear Words: Nicolas Cage to Host New Netflix Comedy Series

Don’t Look Up is currently shooting in Boston.

(Photo by Mike Marsland/WireImage via Getty Images)

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BEGIN SLIDESHOW

Listen to an Exclusive Track from Amelia Warner’s Score for Wild Mountain Thyme

Wild Mountain Thyme marks the third directorial effort of legendary screenwriter John Patrick Shanley, who previously brought us big-screen classics such as Moonstruck, Joe vs. the Volcano, and Doubt. To commemorate the release of the film, starring Emily Blunt and Jamie Dornan, we are presenting a track from the film’s beautiful score composed by Amelia Warner, titled “I Can’t Sell.” You can listen to the track now in the player below!

RELATED: Wild Mountain Thyme Trailer Starring Emily Blunt & Jamie Dornan

The Wild Mountain Thyme original motion picture soundtrack features music by Neo-classical composer Amelia Warner (Mary Shelley), a new song by Sinead O’Connor, performances by actors Emily Blunt and Jamie Dornan, and a track by Brian Byrne. Lakeshore Records will release the album digitally on December 11.

Here’s the tracklist:

01. Welcome to Ireland
02. Cow Shed
03. Banish
04. Green Fields
05. Lost
06. Shanley’s Delight – Brian Byrne
07. Wild Mountain Thyme – Emily Blunt
08. Cemetery
09. Good To Be Home
10. Waiting for That One
11. I Can’t Sell
12. Left with Two Gates
13. Find Faith
14. The Phone Call
15. Open The Shutters
16. Those Two
17. Wild Mountain Thyme – Jamie Dornan & Emily Blunt
18. I’ll Be Singing – Sinead O’Connor
19. End Cue

An epic love story with soaring lyricism, Wild Mountain Thyme is set against the breath-taking landscapes of rural Ireland, where everyone is half-mad with loneliness or love, and the weather is terrible. Anthony and Rosemary are star-crossed lovers, whose families are caught up in a feud over a hotly contested patch of land that separates their two farms.

Anthony (Dornan) always seems to be out in the fields working, worn down by his father’s constant belittling. But what really stings is his father’s threat to bequeath the family farm to his American cousin Adam. Rosemary (Blunt) at first seems to hold a grudge for having been shamed by Anthony in childhood, but the sparks between them would keep a bonfire blazing through the night. Her mother Aoife strives to unite the families before it is too late. Just when we think Anthony will pluck up the courage to face up to his repressed feelings, cousin Adam (Hamm) steps in with a plan to sweep Rosemary off her feet, romancing her over a magical 24 hours in Manhattan. But true love is never defeated!

RELATED: Wild Mountain Thyme Photo: First Look at Emily Blunt and Jamie Dornan

Based on John Patrick Shanley’s 2014 Tony-nominated Broadway play, the film stars Emily Blunt (Mary Poppins Returns), and Jamie Dornan (Fifty Shades of Grey franchise), along with Golden Globe winner Jon Hamm (Mad Men) and Oscar-winning veteran actor Christopher Walken. It will also feature Dearbhla Molloy and Danielle Ryan.

Shanley wrote and directed the film adaptation of Wild Mountain Thyme, marking his second foray behind the camera developing his own stage material for the big screen after 2008’s Oscar- and Golden Globe-nominated period drama Doubt.

Bleecker Street has acquired the U.S. rights to the project with Lionsgate acquiring the U.K. rights. The film is set to be produced by Mar-Key Pictures, Leslie Urdang (Rabbit Hole), Anthony Bregman (Foxcatcher) from Likely Story, Michael Helfant and Bradley Gallo from Amasia Entertainment (Them That Follow), and Martina Niland (Sing Street) of Port Pictures, with Andrew Kramer, Jonathan Loughran, and Stephen Mallaghan set to executive produce.

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Rachel McAdams to Return for Doctor Strange in the Multiverse of Madness

Oscar nominee Rachel McAdams (Spotlight) is reportedly reprising her character of Dr. Christine Palmer in the upcoming Marvel sequel Doctor Strange in the Multiverse of Madness, according to Deadline.

RELATED: Doctor Strange 2: Elizabeth Olsen Says She’ll Be Filming in December

McAdams will rejoin Benedict Cumberbatch, Benedict Wong, and Chiwetel Ejiofor, who are all reprising their roles for the follow-up to 2016’s Doctor Strange. Elizabeth Olsen will also be bringing her MCU character Wanda Maximoff/Scarlet Witch to the sequel, which also stars Xochitl Gomez (The Baby-Sitters Club).

Cumberbatch will next be reprising his role as Dr. Stephen Strange in the Tom Holland-led Spider-Man 3 in addition to Doctor Strange in the Multiverse of Madness. The sequel is being described as the first horror film in the MCU with Oscar nominee Cumberbatch returning as the titular sorcerer supreme. According to Kevin Feige, the upcoming Disney+ shows WandaVision and Loki will both directly impact the events the Doctor Strange sequel.

Originally set to be directed by Scott Derrickson, the sequel is now being helmed by Spider-Man‘s Sam Raimi with Loki head writer Michael Waldron set to rewrite the script that was first written by The Turning scribe Jade Bartlett.

Doctor Strange in the Multiverse of Madness will hit theaters on March 25, 2022.

RELATED: Alfred Molina Reprising Doctor Octopus for Tom Holland’s Spider-Man 3!

The first Doctor Strange movie was released in 2016 with Benedict Cumberbatch starring in the titular role. Joining him in the film were Chiwetel Ejiofor as Karl Mordo, Rachel McAdams as Christine Palmer, and Michael Stuhlbarg as Nicodemus West. It also featured the MCU debut of critical characters from the pages of Marvel Comics, including Benedict Wong as Wong, plus Mads Mikkelsen as villain Kaecilius, and Tilda Swinton as the Ancient One (who is of Celtic origin in the film instead of East Asian origin). Doctor Strange was directed by Scott Derrickson, whose previous credits were primarily horror films like The Exorcism of Emily Rose, Sinister, and Deliver Us from Evil.

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Ben Affleck in talks to lead George Clooney’s The Tender Bar

After seeing the Oscar-winning director enter talks with Amazon Studios to helm the film in July, George Clooney is ready to direct the adaptation of The Tender Bar and is already eyeing an A-list cast as Ben Affleck (The Way Back) has begun talks to star in the project, according to Deadline.

RELATED: George Clooney in Negotiations to Helm Amazon’s The Tender Bar

Sources report that the two-time Oscar-winning filmmakers have been wanting to work together for years now, never quite finding the right project to collaborate on, but when Clooney elected to direct the film as his next project, he put the Argo director/star at the top of his list.

Based on the J.R. Moehringer memoir of the same name, the story centers on an eight-year-old boy growing up in Long Island who seeks out his father at a local bar, only to instead build bonds with patrons at the bar that he looks up to as father figures and tries to find a way to move forward in his life and accept the love of his single mother.

Click here to purchase your copy of the novel!

The script for the film is written by William Monahan, best-known for his Oscar-winning work on the Martin Scorsese-helmed ensemble crime thriller The Departed, as well as Body of Lies and Edge of Darkness. The film adaptation was originally set at Sony with Theodore Melfi (Hidden Figures) attached to direct, but after he departed the project the studio put it into turnaround with Amazon acquiring the rights shortly after.

RELATED: Ben Affleck to Helm Making-of-Chinatown Movie at Paramount

Clooney was set to follow up Midnight Sky, in which he stars and produces, with MGM’s adaptation of Boys in the Boat, but sources report that with the complexity of shooting the Olympics sports drama in the midst of a pandemic, he has chosen Tender Bar as his next project though is still attached to Boys. It’s currently unclear if Clooney will also star in Tender Bar, but given his appearance in all but one of the films he’s directed in the past 18 years, be it supporting or starring role, chances are high he’ll find a role to take on.

(Photo Credits: Getty Images)

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CS Interview: Writer/Director Adam Egypt Mortimer on Archenemy

Ahead of the film’s theatrical and digital debut, ComingSoon.net got the opportunity to chat with acclaimed writer/director Adam Egypt Mortimer (Daniel Isn’t Real) to discuss his work on his latest project, the superhero thriller Archenemy starring Joe Manganiello (Justice League)!

RELATED: Archenemy Review: Kinetic, Colorful & Refreshingly Original Superhero Take

ComingSoon.net: How did the concept of Archenemy first come to yours and [co-story developer] Lucas Passmore’s minds?

Adam Egypt Mortimer: Well you have to understand, I grew up loving comics and superheroes and comic stories and I always felt like comics took those characters, those stories and the aesthetics of those stories in all kinds of wild and exciting directions, which I don’t think we have quite gotten to see yet in superhero movies. Especially when I started writing this in, like, 2015, so I was kind of thinking about what are some amazing things we could be doing with these characters that we haven’t done in movies that comic books were able to do. At a certain point, way back in the ‘80s, comic creators were like, “At this point, everybody knows what superheroes are, so now we can go buck wild,” so I was like, “Maybe now, we’re getting to a point where if the movie audience understands what superheroes are, we don’t have to do origin stories and all of that.” There was always a kind of longing that I had to play around with superheroes and it really started from this idea that a superhero-ish figure with a fucked-up cape is sitting in a bar drinking whiskey, that image that a superhero is some kind of fucked up person. We don’t quite have that imagery in the film, because the cape takes on a different significance, but we sort of started there and thought, “Wouldn’t it be cool if The Wrestler was about a superhero,” you know, like this idea of somebody who had a path, had a whole kind of glorious comic book world, but that’s all in the past and what he is now is a broken man looking to reclaim his glory and is that path even true. So I guess that was the origin of it and I sort of pitched that idea to Lucas, who is a good friend of mine and we wanted to work on something and I said, “Look, what about this guy who kind of thinks he’s a superhero, what can we do out of that,” and we worked off of that for a while to outline what the story is and then I ran with it.

CS: So given that extensive development time on the film, what was it like coming back to it after delivering back-to-back horror films?

AEM: I think that one of the things that became really important about Archenemy and what it is as my third movie is really thinking of what did I want a movie like this, a movie about a superhero, what did I want it to feel like? Like what did I want the aesthetic to be? The way it looks and things like that, that was — what I was learning to do on my very first movie and really implement on my second, on Daniel Isn’t Real, kind of boils down to, “How do you make a movie?” [laughs] This movie, you’re really watching me learn what I’m supposed to be doing when I make a movie and then my second one was like now I’m getting a sense of style and what style is and how you make a movie feel a different way. Archenemy is exciting for me in that I feel like I have developed a style and an understanding of how to get a movie to look and feel how I want it to be and then taking that outside of the horror genre and putting it into what we would conventionally call a superhero movie, although is Archenemy even a superhero movie, I don’t know. There was this feeling I had of, “Oh man if I ever get to do get the chance to make this movie, it’s really going to feel personal, because what genre even is it, I can go on these tangents and have these characters doing these crazy things.”

Click here to digitally pre-order Archenemy!

CS: One of the things I loved about the film was its use of comic book-style animation for its backstory sequences, was that always in the script or was that a product of the budget?

AEM: When I first started writing it, I was imagining filming the real-life stuff really gritty and really gnarly and the Chromium stuff would be Matrix-y kind of live-action, hyperrealistic live-action. As I was looking at the budget and what we’d be able to do and how I’d want to spend my time shooting the movie and what our resources were, I flipped that around and thought, “What if we start to make the real world have the grittiness and realness, but it also has a heightened color and really deliberate way of showing things” and the animation becomes this kind of more and more abstracted dreamlike thing. Some of my very favorite comics that I was looking at kind of inspired it and the animation team looked at what Bill Sienkiewicz did with Elektra: Assassin and with his Daredevil graphic novel with Frank Miller where everything is so dreamlike and strange. When we committed to using animation, I remembered that one of the most disturbing, one of the most influential and one of my favorite movies is Pink Floyd: The Wall and the way that animation is used in that movie and it’s a story about a guy falling apart and going crazy and what are his memories and how do they relate to the present and all of these animated moments and how they intercede, his nightmares, his fantasies, so I thought, “Yeah, let’s do a superhero movie where the backstory is like Pink Floyd: The Wall.”

CS: I love it, I’m literally staring at the Pink Floyd: The Wall movie poster I have on my wall. 

AEM: Do you really? My friend had the poster long before either of us had even seen the movie, we were just so fascinated by it and we’d star at that thing and be like, “Do you think that giant gaping mouth is a gateway into another dimension?” It just has a haunting quality that when I did actually see that movie, it just ruined my life, I had never had an experience with a movie that was so traumatic and so disturbing and sometimes I like to think that the idea of being traumatized by a movie was so important to me that that’s what I’m looking to do. Like, “God, I really hope some young kid will see one of my movies and be totally destroyed by it for the rest of their life.” [laughs]

CS: Speaking of feeling destroyed by something, the cast is truly insane on this movie and gives some new sides to its stars we haven’t seen before, especially Glenn Howerton and Paul Scheer, what was it like building the ensemble?

AEM: It’s pretty amazing, starting with Joe, who is the most handsome man in Hollywood, he’s like the sexiest man alive, and putting him in like, “Obviously, your character just smells terrible, we’re going to fuck up your teeth.” He was so excited to get scruffy and dirty. A lot of these guys, like Joe, they’re known for being handsome and popular, but he’s a trained theater actor, and it’s the same with Glen. He was like, “I’m very funny, I have a funny show, but I didn’t go into this for comedy, I went into it for drama,” so working with all these actors, we had a great opportunity to let them do things they haven’t done before. I think in all three of those cases, we get to deconstruct how they look and play with what you know them as and what they look like in those movies. With Glenn, with the blonde hair and the mustache, and then Paul Scheer, the character that Paul plays was written to be just in red underwear. Taking Paul and giving him all of the tattoos, I remember a friend of mine came to visit set the day we were shooting with Paul and it took him all day and by the end of the day he walked up to me and went, “I just realized that’s Paul Scheer.” [chuckles] That’s something that’s so fun as a director to know that you have this material that these amazing actors will want to do because it means getting to do something they don’t do and nobody’s really seen them do before and that means we all have such an exciting world to play with.

CS: The character of Indigo is also a wonderful central heart to the story, what was it like conducting the search to find the perfect actress for her?

AEM: Indigo had to be such an emotionally electric person, so working with my casting directors, who were the same people that helped me get Sasha Lane on Daniel Isn’t Real, they just have this incredible sense of younger actors. They told me about her and she came in and she did an audition and was just 100 percent superstar material, she just has all of this energy and you just love her, but she’s also super cool and she has the look, so once she came in and I met her and she auditioned for it, it was kind of a no-brainer. I hate when people use that phrase, there was so much brain involved in figuring it out [laughs]. Skylan was somebody else, they brought him in to read for her brother, and we did a series of tests where we had Zolee interact with a couple of different kids and really looked for that brother/sister feeling that really felt like they grew up together and that they have this chemistry and this energy and the two of them together were just spectacular. Skylan is also just so lovable and I just wanted him to be okay, the key in the movies I make is that you want to cast people who are lovable and you want to hug and you just watch for an hour and a half as they get slowly destroyed [laughs].

RELATED: CS Video: Mortal Interview With Co-Writer/Director André Øvredal

Written and directed by Adam Egypt Mortimer (Daniel Isn’t Real) from a story by Mortimer and Lucas Passmore (No Good Heroes), the film stars Joe Manganiello (True Blood), Skylan Brooks (Empire), Zolee Griggs (W-Tang: An American Saga), Paul Scheer (Black Monday), Amy Seimetz (Pet Semetary) and Glenn Howerton (It’s Always Sunny in Philadelphia).

In Archenemy, Max Fist (Manganiello) claims to be a hero from another dimension who fell through time and space to Earth, where he has no powers. No one believes his stories except for a local teen named Hamster. Together, they take to the streets to wipe out the local drug syndicate and its vicious crime boss known as The Manager.

Archenemy was produced by SpectreVision’s Daniel Noah, Lisa Whalen, and Elijah Wood along with Kim Sherman, Mortimer, Joe and Nick Manganiello.

Archenemy will be released in theaters, On Demand and Digital on December 11, 2020.

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George Miller Gives Update on Three Thousand Years of Longing & Fury Road Sequel

During an interview with Deadline, Oscar-winning filmmaker George Miller revealed that his upcoming feature Three Thousand Years of Longing will begin production in March 2021 in Australia, with Golden Globe winner Idris Elba (Luther) and Oscar winner Tilda Swinton (Michael Clayton) attached to star. Very little is known about the film, with Miller saying he feels like it’s a “jink” to “talk about these films before they’re actually completed,” but he did share that the project is the “anti-Mad Max.”

RELATED: Furiosa Star Anya Taylor-Joy Praises Charlize Theron’s Performance

“I see the title of this film as a riddle, and it’s more or less at heart a two-hander, even though it’s way more complex than that,” said Miller. “Tilda and Idris are the two characters at the center of this thing. I can’t even decide what genre it is, to be honest. And that’s a good thing. I like to think in these days that to have a chance of people taking notice of what you’re doing, without being overly flamboyant, your film needs to be uniquely familiar. That’s the term I use. The audience is looking for that, something that seems fresh and atypical. In this case, every time I think, oh it’s this kind of film, I say yes but also it’s that kind of film. I would hope that translates into people feeling that what we’re trying to do is interesting.”

“One thing I can tell you; it’s not [another Fury Road]. It’s a movie that is very strongly visual, but it’s almost the opposite of Fury Road. It’s almost all interior and there’s a lot of conversation in it. There are action scenes, but they are by the by and I guess you could say it’s the anti-Mad Max.”

Speaking of Mad Max, Miller shared that he’s “not done with the Mad Max story” and that there is “another Mad Max coming down the pike” revealing that they are in preparation on the next project even as Three Thousand Years of Longing enters pre-production.

“It’s an interesting question, the idea of multi-tasking. I discuss this with other filmmakers and I think what happens to me is that when you’re working on one thing, and you get so distracted and focused on that one thing, it’s like a creative holiday to focus on the other one for a bit. It helps you achieve that objectivity, to look at the thing afresh each time and say, I thought I was doing this, but it doesn’t seem to be the case now.”

RELATED: Taylor-Joy, Hemsworth & Abdul-Mateen II to Lead Furiosa Prequel!

Miller also gave his opinion on the debate about whether superhero films “qualify as cinema,” saying that to him, “it’s all cinema.”

“I watch all of them. To be honest, in terms of this debate, cinema is cinema and it’s a very broad church. The test, ultimately, is what it means to the audience. There’s a great quote I saw that applies to all we do. It was from the Swahili storytellers. Each time they finished a story they would say, ‘The story has been told. If it was bad, it was my fault because I am the storyteller. And if it was good, it belongs to everybody,’” Miller said.

“It’s a mistake and a kind of hubris if a film does well at the box office to dismiss it as clever marketing or something else. There’s more happening there, and it’s our obligation as storytellers to really try and understand it. To me, it’s all cinema. I don’t think you can ghettoize it and say, oh this is cinema or that is cinema. It applies to all the arts, to literature, the performing arts, painting and music, in all its form. It’s such a broad spectrum, a wide range and to say that anyone is more significant or more important than the other, is missing the point. It’s one big mosaic and each bit of work fits into it,” he added.

(Photo by Kevin Winter/Getty Images)

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