Fatale Trailer: Hilary Swank & Michael Ealy Star in Lionsgate’s New Thriller

Lionsgate has released the official Fatale trailer for their upcoming psychological thriller film, featuring Michael Ealy as his character’s perfect life gets completely overturned after having an affair with a mysterious woman. Also starring Oscar winner Hilary Swank, the film is scheduled to make its debut in theaters on Friday, December 18. Check out the video in the player below!

RELATED: Hilary Swank-Led Sci-Fi Series Away Cancelled at Netflix

In Fatale, After a wild one-night stand, Derrick, a successful sports agent, watches his perfect life slowly disappear when he discovers that the sexy and mysterious woman he risked everything for, is a determined police detective who entangles him in her latest investigation. As he tries desperately to put the pieces together, he falls deeper into her trap, risking his family, his career, and even his life. The film is a suspenseful and provocative psychological thriller and an unpredictable game of cat and mouse where one mistake can change your life.

The film stars Oscar winner Hilary Swank (Million Dollar Baby, Boys Don’t Cry, Away) and Golden Globe nominee Michael Ealy (Sleeper Cell, Stumptown, Jacob’s Ladder) along with Mike Colter (Luke Cage, Evil), Tyrin Turner (Meet the Blacks), Sam Daly (Hunters), Kali Hawk (Fifty Shades of Black), David Hoflin (Bosch), Damaris Lewis (BlacKkKlansman), and Geoffrey Owens (The Cosby Show).

RELATED: The Plane: Lionsgate Exits Gerard Butler-Led Action Film

Fatale is directed by Deon Taylor (Black and Blue) from a script written by David Loughery, who is also serving as a producer. The film is produced by Taylor’s Hidden Empire Film Group partner Roxanne Taylor and is executive produced by partner Robert F. Smith. Two-time Oscar nominee Dante Spinotti (L.A. Confidential, Heat) served as director of photography, marking his third collaboration with Taylor on Fatale.

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The Godfather: Paramount Says a Fourth Installment Still Possible

Ahead of the upcoming release of the recut version of The Godfather Part III, Paramount Pictures has finally addressed the future of the acclaimed crime drama film franchise, confirming that they’re open to the possibility of producing a fourth installment. Speaking with The New York Times, the studio revealed the potential fourth Godfather movie would only move forward if the right story presents itself.  In addition, a brand new featurette for Mario Puzo’s THE GODFATHER, Coda: The Death of Michael Corleone has been released which you can check out below, featuring interviews by Coppola, Al Pacino, and Andy Garcia as they talk about the importance of the new version of the third film.

“While there are no imminent plans for another film in the ‘Godfather’ saga, given the enduring power of its legacy it remains a possibility if the right story emerges,” Paramount said in a statement.

RELATED:  Watch Mario Puzo’s The Godfather, Coda Trailer & Featurette!

However, should Paramount ever decided to make a fourth film, it’s unlikely that Francis Ford Coppola would be returning as its director. Coppola previously expressed that he had an idea for the sequel following the 1990 release of the third installment. However, he wasn’t able to write the script due to the passing of co-scribe Mario Puzo in 1999.

Mario Puzo’s THE GODFATHER, Coda: The Death of Michael Corleone will have a limited theatrical release in December, followed by availability on Digital home entertainment platforms and on disc.

Click here to pre-order The Godfather, Coda before it’s December 8 release!

“Mario Puzo’s THE GODFATHER, Coda: The Death of Michael Corleone is an acknowledgment of Mario’s and my preferred title and our original intentions for what became The Godfather: Part III,” said Coppola. “For this version of the finale, I created a new beginning and ending, and rearranged some scenes, shots, and music cues. With these changes and the restored footage and sound, to me, it is a more appropriate conclusion to The Godfather and The Godfather: Part II and I’m thankful to Jim Gianopulos and Paramount for allowing me to revisit it.”

Coppola’s masterful film adaptation of Puzo’s novel chronicles the rise and fall of the Corleone family and the saga is rightfully viewed as one of the greatest in cinematic history. Celebrating its 30th anniversary this year, The Godfather: Part III was nominated for seven Academy Awards, including Best Picture and Best Director. The film follows Michael Corleone (Al Pacino), now in his 60s, as he seeks to free his family from crime and find a suitable successor to his empire.

Coppola and his production company American Zoetrope worked from a 4K scan of the original negative to undertake a painstaking, frame-by-frame restoration of both the new Mario Puzo’s THE GODFATHER, Coda: The Death of Michael Corleone and the original The Godfather: Part III.

RELATED: Francis and The Godfather: Oscar Isaac to Play Francis Ford Coppola, Jake Gyllenhaal Set as Robert Evans

“Mr. Coppola oversaw every aspect of the restoration while working on the new edit, ensuring that the film not only looks and sounds pristine but also meets his personal standards and directorial vision,” said Andrea Kalas, senior vice president, Paramount Archives.

In order to create the best presentation possible, Zoetrope and Paramount’s restoration team began by searching for over 50 original takes to replace lower resolution opticals in the original negative. This process took more than six months and involved sifting through 300 cartons of negative. American Zoetrope worked diligently to repair scratches, stains, and other anomalies that could not be addressed previously due to technology constraints, while enhancements were made to the original 5.1 audio mix. These thorough restoration efforts were not immune to the coronavirus pandemic: midway through the project, all work—even the search for the negative—shifted to the San Francisco Bay area and Los Angeles and was completed by Zoetrope and Paramount remotely.

The film will release in select theaters starting December 4 and will be available to own on Blu-ray and digital on December 8.

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All 2021 WB movies getting simultaneous theatrical/HBO Max releases

As the studio gears up for its highly-anticipated Christmas Day release of Wonder Woman 1984 for a simultaneous HBO Max and theatrical release, Warner Bros. has officially announced that every movie in its 2021 release slate will get the same release plans as the world continues to face concerns of the ongoing pandemic. The announcement video can be viewed in the player below!

RELATED: Wonder Woman 1984 Advance Tickets Now Available!

I got you something nice this year:
The biggest movie premieres
In theaters and on HBO Max the exact same day
Beginning December 25 with #WonderWoman1984#HBOMax #WBPictures https://t.co/BZgFFRrrg2 pic.twitter.com/J2KBdWd9Tf

— HBO Max (@hbomax) December 3, 2020

“We’re living in unprecedented times which call for creative solutions, including this new initiative for the Warner Bros. Pictures Group,” Ann Sarnoff, Chair and CEO of WarnerMedia Studios and Networks Group, said in a statement. “No one wants films back on the big screen more than we do. We know new content is the lifeblood of theatrical exhibition, but we have to balance this with the reality that most theaters in the U.S. will likely operate at reduced capacity throughout 2021. With this unique one-year plan, we can support our partners in exhibition with a steady pipeline of world-class films, while also giving moviegoers who may not have access to theaters or aren’t quite ready to go back to the movies the chance to see our amazing 2021 films. We see it as a win-win for film lovers and exhibitors, and we’re extremely grateful to our filmmaking partners for working with us on this innovative response to these circumstances.”

The titles slated to get these specialty releases next year currently includes The Little Things, Judas and the Black Messiah, Tom & Jerry, Godzilla vs. Kong, Mortal Kombat, Those Who Wish Me Dead, The Conjuring: The Devil Made Me Do It, In The Heights, Space Jam: A New Legacy, The Suicide Squad, Reminiscence, Malignant, Dune, The Many Saints of Newark, King Richard, Cry Macho and Matrix 4. 

“After considering all available options and the projected state of moviegoing throughout 2021, we came to the conclusion that this was the best way for WarnerMedia’s motion picture business to navigate the next 12 months,” Jason Kilar, CEO of WarnerMedia, said in a statement. “More importantly, we are planning to bring consumers 17 remarkable movies throughout the year, giving them the choice and the power to decide how they want to enjoy these films. Our content is extremely valuable, unless it’s sitting on a shelf not being seen by anyone. We believe this approach serves our fans, supports exhibitors and filmmakers, and enhances the HBO Max experience, creating value for all.”

RELATED: Warner Bros. Considered an HBO Max Release for the Mortal Kombat Film

All of the announced films will still receive theatrical releases worldwide alongside a one-month access period on WarnerMedia’s streaming service, leaving the platform after one month and continuing its theatrical release in the customary distribution windows for each title.

“This hybrid exhibition model enables us to best support our films, creative partners and moviegoing in general throughout 2021,” Toby Emmerich, Chairman, Warner Bros. Pictures Group, said in a statement. “We have a fantastic, wide ranging slate of titles from talented and visionary filmmakers next year, and we’re excited to be able get these movies in front of audiences around the world. And, as always, we’ll support all of our releases with innovative and robust marketing campaigns for their theatrical debuts, while highlighting this unique opportunity to see our films domestically via HBO Max as well.”

ComingSoon.net recommends all readers comply with CDC guidelines and remain as isolated as possible during this urgent time.

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Heart of Stone: Gal Gadot to Star in Original Spy Franchise for Skydance Media

According to Deadline, Wonder Woman star Gal Gadot is attached to lead an original international spy thriller titled Heart of Stone from Skydance Media, who is reportedly putting a “female spin on action franchises” like James Bond or Mission: Impossible.

RELATED: Wonder Woman 1984 Advance Tickets Now Available!

Tom Harper (The Aeronauts, Wild Rose) is in talks to direct the project from a script by Greg Rucka (The Old Guard) and Oscar nominee Allison Schroeder (Hidden Figures).

Heart of Stone will be produced by Skydance Media’s David Ellison, Dana Goldberg, and Don Granger. Gadot will also produce via her Pilot Wave banner alongside producing partner Jaron Varsano, as well as Bonnie Curtis, and Julie Lynn.

RELATED: Wonder Woman 1984 To Debut On HBO Max in 4K, HDR 10, Dolby Vision & Dolby Atmos

Gadot will next be seen in the highly-anticipated sequel Wonder Woman 1984, releasing in theaters and streaming exclusively on HBO Max on Christmas Day. Her upcoming credits also include Kenneth Branagh’s Death on the Nile, Zack Snyder’s Justice League, the action-comedy Red Notice co-starring Dwayne Johnson and Ryan Reynolds, and the biographical drama Irena Sendler.

(Photo by Dia Dipasupil/Getty Images)

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BEGIN SLIDESHOW

CS Soapbox: Why The Mandalorian’s Ahsoka Tano Wants To Find Grand Admiral Thrawn

Warning! Spoilers for The Mandalorian Chapter 13, “The Jedi” 

Ahsoka Tano (AKA “Snips”), the Jedi apprentice of Anakin Skywalker during the Clone Wars, made her debut in the feature film Star Wars: The Clone Wars (2008). Created by George Lucas and Dave Filoni late in the game, Ahsoka’s presence as a pivotal character in the animations made sense (ish). However, her absence in both the original Star Wars films did not. That said, it’s safe to say many of us thought the Force-sensitive Togruta would be contained to the (animated) small screen, until recently. 

Jon Favreau and Filoni’s live-action series The Mandalorian (taking place 5 years after Episode VI) is going to admirable lengths to tie the films and animations together—creating a cohesive galaxy far, far away… finally. So far, Season 2 saw the return of bounty hunter Boba Fett and the live-action debuts of Clone Wars characters Bo-Katan Kryze and Ahsoka, the former instructing Din Djarin to bring Baby Yoda (Grogu?) to the latter. The much-rumored/anticipated appearance of Ahsoka (Rosario Dawson) in Chapter 13 “The Jedi” sets the show up to implement even more characters. 

RELATED: The Mandalorian Season 2 Episode 5 Recap: ‘The Jedi’

Din finds Ahsoka on the planet of Crovus, where she’s trying to liberate the town of Calodon from Magistrate Morgan Elsbeth. In a team-up the likes of “a Mandalorian and a Jedi? They’ll never see it coming,” Din and Ahsoka take down the magistrate. In Ahsoka’s climactic confrontation with Morgan, the Force-wielder asks, “where is your master? Where is Grand Admiral Thrawn?” For fans of Star Wars Rebels (and perhaps the Expanded Universe), that name has huge implications. 

With his red eyes and blue skin, Thrawn -created by author Timothy Zahn for the 1991 book “Heir to the Empire”- is one of the most intimidating villains in all of Star Wars. As an expert tactician with an affinity for alien cultures, Thrawn swiftly rose through the Empire’s ranks. He is the main antagonist in seasons 3 and 4 of the Filoni-created animated series Star Wars Rebels. That series, taking place after the events of Star Wars: Revenge of the Sith and before the events of Star Wars: A New Hope, follows the Rebellion in its infancy. Specifically, the crew of the Ghost: the Twi’lek Hera Syndulla, the Mandalorian Sabine Wren, the Lasat Zeb Orrelios, Jedi Kanan Jarrus (master), and Ezra Bridger (apprentice). The mention of Bridger here is most important as his fate and that of Thrawn have become intertwined.

RELATED: Ashley Eckstein Reacts to Ahsoka Tano’s Mandalorian Debut

In Rebels’ finale, while fighting to free the planet of Lothal, Ezra calls upon a group of purrgils -AKA hyperspace-traveling whales- to engulf Thrawn’s Star Destroyer with him and Ezra still aboard. The sacrifice play sees the Empire’s Seventh Fleet aimlessly jump to hyperspace—neither Thrawn nor Ezra have been seen since. The episode’s epilogue features a flash-forward, taking place after Star Wars: Return of the Jedi/the Empire’s defeat, in which Ahsoka (who has run-ins with the protagonists of Rebels) Hera and Sabine meet up on Lothal to look for Ezra. That said, the mention of Thrawn in The Mandalorian could mean Ahsoka is still looking for her friend. “The Jedi” writer/director Filoni said hinted to Vanity Fair that Rebels’ final scene may take place after Ashoka’s appearance in The Mandalorian: 

“That’s not necessarily chronological,” said Filoni. “I think the thing that people will most not understand is they want to go in a linear fashion, but as I learned as a kid, nothing in Star Wars really works in a linear fashion. You do [Episodes] Four, Five and Six and then One, Two, and Three. So in the vein of that history, when you look at the epilogue of Rebels you don’t really know how much time has passed. So, it’s possible that the story I’m telling in The Mandalorian actually takes place prior to that. Possible. I’m saying it’s possible.” 

If the Rebels epilogue happened after the events of The Mandalorian, then perhaps Ahsoka is about to reunite with Hera and Sabine. If it happened before, then Ahsoka is still searching for Ezra. The mysterious “Thrawn” reveal presents the prospect of the aforementioned Rebels characters being introduced in The Mandalorian, potentially positioning Thrawn as its ultimate threat and Moff Gideon’s (the current baddie out for Grogu) boss. The idea that Thrawn and Gideon could be working together (to resurrect Emperor Palpatine via Grogu’s blood/bring about the rise of the First Order?) is exciting, to say the least. Regardless, if Thrawn survived the end of Rebels, so did Ezra. 

RELATED: Rosario Dawson Reveals How She Was Cast As Ahsoka Tano in The Mandalorian

Although Ahsoka refuses to train Grogu (probably because of that whole Darth Vader thing) in “The Jedi,” she tells Din to take him to the Jedi Temple on Tython. While there, Grogu can reach out with the Force and find another Jedi to train him. While many fans are speculating/hoping that either Luke Skywalker or Yoda may respond, it’s more likely that Ezra will be the one to reveal himself. Like Grogu, Ezra was initially considered to be too emotional to become a Jedi—he’s the perfect master. 

On a final note, it would be enormous fun if Thrawn were somehow revealed to be played by actor Richard E. Grant, who previously portrayed Allegiant General Enric Pryde in Star Wars: The Rise of Skywalker. Although Pryde was pretty much a standard, by-the-numbers First Order baddie with no connection to previous characters, a scene where Pryde speaks with Palpatine shows off a scar and a strange mole/button on his neck (one that Grant does not sport in real life, as seen in the picture above). It’s a blink-and-you’ll miss it detail, but it comes during a scene where Pryde pledges, “As I served you in the old wars, I serve you now.” It’s a strange scene to have in the film if it wasn’t in reference to SOMETHING important. Could it be that Thrawn changed his name and had a face lift/skin dye at some point in the timeline? Perhaps to evade Ahsoka and/or Ezra? Are we giving The Rise of Skywalker WAAAAAY more credit than it deserves for setting up a big payoff? The fact is we can think of no one else better suited to play Thrawn than Grant, but we shall see what Jon Favreau and Dave Filoni have in store for us!

Who do you think should play Thrawn on The Mandalorian? Who should play Ezra? Which Jedi do you think Grogu will meet on this mysterious planet? Let us know in the comments below!

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CS Interview: Popeye Star Paul Dooley on the Film’s Blu-ray Arrival & 40th Anniversary

ComingSoon.net had the opportunity to speak with Emmy nominee Paul Dooley (The Practice, Dream On, Hairspray) about Robert Altman’s 1980 feature Popeye in honor of the film’s 40th anniversary this year as well as its arrival on Blu-ray for the first time. You can check out our interview with Dooley, who played Wimpy in the movie, along with a special feature clip in the player below, and order your copy of the Popeye Blu-ray here!

RELATED: Exclusive Popeye Featurette Clip For the Upcoming Blu-ray Release

The beloved anvil-armed sailor of the seven seas comes magically to life in Popeye, available now on Blu-ray for the first time ever from Paramount Home Entertainment. Starring the incomparable Robin Williams in his first big-screen role and Shelley Duvall as his devoted sweetie, Olive Oyl, the delightful musical celebrates its 40th anniversary this year, having debuted in theaters on December 12, 1980.

The new Blu-ray includes access to a Digital copy of the film, along with nearly 30 minutes of all-new bonus content featuring excerpts from one of Robin Williams’ final interviews, a vintage interview with director Robert Altman, as well as a newly conducted interview with Stephen Altman. The full list of bonus features is below:

· Return to Sweethaven: A Look Back with Robin and the Altmans

· The Popeye Company Players

· Popeye’s Premiere

· The Sailor Man Medleys

· Theatrical Trailer

RELATED: Damien Chazelle’s Babylon Adds Li Jun Li as Anna May Wong

Legendary producer Robert Evans and screenwriter Jules Feiffer worked for nearly three years to get Popeye into production. The film combined the talents of Altman, composer and lyricist Harry Nilsson, numerous filmmaking artisans, and an outstanding cast of actors, mimes, athletes, and street performers to bring the world of the beloved character to life. The result is an uplifting and visually delightful film that celebrates the magic of what Altman called “a genuine American hero.”

ComingSoon.net: It’s cool I just got to take a look at the new Blu-ray today. Of course, I’d seen the film before. I grew up with it. And what’s really about it, I think, is the people that grew up with it on TV or on VHS, they never really got to experience the full scope of what Altman was really good at, which was arranging this whole tableau of characters and surroundings.

Paul Dooley: Yeah, that was one of his big talents, is putting together a group of people. He loved large casts. He told me he had 25 actors in Nashville and he was going to put the 15 actors in A Wedding, which is my first film with him. But he loved having tons and tons of actors around him. He liked that experience on a set, to be able to work them in and use them in the background. He told me one of the first days, “Today, you might be an extra for a star in the movie, but tomorrow, you’ll be in the background and you’ll be in the front.” He didn’t hire an actor for two days or a week or two weeks. This is common in films because they save money that way. He hired every actor for the entire film.

I’d ask him why he did that, he said, “I don’t know. I may need you. I don’t want to have you go home and come back. You’re here. I see you a bunch. I’ll maybe put you in the scene that day.” So he wanted to be able to change on a moment’s notice and put you into a scene that you had never been planned on. He used to ad-lib what he shot, ad-lib who was in it. He always wanted to have a lot of people in the background. So it was very immersive and it was a lot of fun. A lot like going to summer camp. The actors all became good friends and we were very tight and we had a lot of rapport. But he created that. He was an actor’s director.

CS: Yeah, it’s like you guys were sort of paint and you were just kind of there, and if he wanted to put you on the palette, he would. And if he didn’t, he’d switch you around.

Dooley: And also, I told a friend of mine before I did the first film with him, I’ve learned a lot about him or I heard about him. And I said, “He likes to use the same actors over and over because they do a good job. So this may not be my only movie with him.” It turned out I did five of them.

CS: And it’s interesting, a lot of people talk about his process as being kind of controlled chaos. But what do you think the ratio was, like chaos to control?

Dooley: I didn’t think of it as chaos, I thought of it as spontaneity, and improvisational doesn’t necessarily mean chaos. I never found it chaotic. I just found it inventive, and he would come up with something. And he could get a good idea from the prop man. He could get a good idea from anybody, you know, on a set. How about if we do this, Bob? And he would listen to them. And if actors had ideas, he would let them do it. To give you an idea, my first line in my first movie was “I do.” I was the father of the bride and the bishop said, “Who gives this woman to this man?” That’s the line. And my line was, “I do.” But I knew enough about Bob Altman before I even started because I’d spent some time around his office [and] I was hanging around him before we started shooting. So instead of saying, “I do”, which is formal and it’s usual and boring, I knew he’d be okay if I said something different. My character’s name was Snooks, which is funny to begin with. He says, “Who gives this woman to this man?” And I stepped forward and said, “Snooks. I mean, I do. I mean, I’m Snooks.” And I knew he’d let it happen. My first line. I did all that improvising for nothing.

CS: But it is interesting because I know he used a very elaborate sound design and sound recording on his set.

Dooley: Yeah, yeah, he did. He used to do this. He used to put eight mics on eight people in a group scene. And then, we’d do a couple of takes and he would switch the mics to eight other people. And he had these little antennas sitting on the floor all around. And that way, he’d get people on different tracks and he could then in post-production use any one of those tracks because those people were talking at the same time maybe. But he could lose this track and keep the other track, lose one line and keep two other lines, but have great control sound-wise in post.

He kind of created some of that stuff, in a way. And his complaint was, he told me in television, before he made movies, every TV show he ever did, they fired him because they didn’t like the way he did the soundtrack. But he thought it sounded like real life. And [if there] were soldiers at the field, they didn’t want them to say anything that wasn’t on the page, you know? He’d let people make up the lines when he was doing these TV shows. One was Combat, one was Whirlybirds. He did a whole lot of early television, but he told me he always got fired because of the soundtrack. And he’d come back a second time.

CS: And it’s interesting, too, because I know that just prior to Popeye, you guys had collaborated on HealtH. Because you were so heavily involved with that movie, were you also sort of there for like, the ground floor of the beginnings of Popeye?

Dooley: No, I wasn’t involved in any way with Popeye, except as an actor. But on HealtH, you know, he called me one day and said, “I’m sending you a script. It’s HealtH. We’re going to do it in Florida. You’ll have a part. I don’t know what it is yet, but I want you to take a look at this script because I might want you to do a draft of it, another draft.” And I said, “Bob, I’ve written a lot of things, but I’ve never written a screenplay.” He didn’t even know I wrote commercials, tons of them, and I’d written sketches and a lot of things at Second City. But he said, “You’ll be fine. You’ll be great. Just take a look at it.” So I started writing, and I’d send him 10 pages. And he’s going back, he’d say, “Send me some more. Send me some more. Send me some more.”

And finally, we got about, I don’t know, half a movie and I was rewriting the movie. And he’d say, “Stop writing now. Meet me down in Florida in a couple of weeks before production starts and we’ll put the rest of it together down there.” So it was kind of written each scene a few days before. And that happened somewhat in A Wedding as well. Where we’d get new pages and it never existed until a few days before. But [he was] very loose and it turns out pretty well for him. Except I have to say this. He made 39 movies. Five of them made money.

CS: It’s interesting because they talk about this on the Blu-ray, is like, Popeye had this perception of being a huge flop, but in actuality, it did make coin, you know, people were expecting it to be the next Superman or something huge.

Dooley: Yeah, well, the studio — there were certain disagreements going on with the studio. First, it was Paramount and then it was a co-production with Disney. And they were getting mad at Bob Evans, who was an independent producer who brought it to life. And it was more about what the studio thought of Bob Evans than it was the movie. So they had a bad taste in their mouth about the movie because of disagreements with Bob Evans, as I understand it. They were predisposed to not like the movie. First of all, it went over budget. They didn’t like that. They blamed Altman like he was purposely not finishing. And he was dying to get out of there. We wrapped at noon the last day. He didn’t go home and pack. He got on a plane that instant and went back to California. He said to his wife, “You and the guys, they’ll help you. Pack it all up and send it home.” He didn’t even go home after the last shot. He ran to the airport. He hated running over, but the studio thought, if you’re running over, then you’re over budget, they go crazy.

CS: Sure. Well, I know that you guys were all kind of just sequestered in Malta. What was kind of your impression of the vibe? How did it feel to you, just sort of being immersed in this sort of cartoonish world for I think it was three or four months?

Dooley: I talked to many of the actors about this, and our experience and our memories of it is not that we were in Malta or in a small town in Malta called Mellieha. We believed we were in a place called Sweethaven because we’re 12 hours a day shooting. We watched dailies right there, before we even go back to our apartments. We have meals. We’re living there. It’s not just 12 hours a day, it’s 15 to 18 hours a day. And then, in the morning, we’re back again in costume. We feel like we lived in Sweethaven because the set was so gorgeous. It was so beautiful. It was much more real than the Maltese buildings. You know, it was something like we were living in a place, in a whaling village 100 years ago and things like that and stuff like that.

And we were all bonded together as a family with the set. The set was another character in the movie. And it was a real great experience. The least exciting part of it was the last few months, when we suffered from all the bad weather and we had to be stuck on these boats. And we’d get all dressed up and our costumes and our big huge shoes and all that stuff and go out onto the set. And then it would rain all day. And we’d come back home. So that part wasn’t as much fun, but the part when all 50 actors are there, it was like being in a group of circus people, you know? And it was a life unto itself. We had our own community college. We had courses. We had things we could study. We studied juggling, gymnastics, tumbling. You could study dance. You could study improvisation. And so, it became a lot more than just a movie. It was a whole immersive experience.

CS: Yeah, and by the time the movie was over, did you never want to see another hamburger for the rest of your life?

Dooley: No, I didn’t eat them. I faked it.

CS: That was smart.

Dooley: They actually made me a rubber hamburger. I pretended to eat it.

CS: Oh smart.

Dooley: They made me one that looked real, but it had a bite taken out of it, so I began every take by taking it away from my mouth and chewing with my tongue and never having tasted any of it. Yeah, it worked out so I wouldn’t have to eat hamburgers. If you’re doing several takes, you can get sick with that stuff.

CS: Oh of course. I know that Stephen Altman on the Blu-ray said that you were his favorite actor because you always kept your props in order and you always had everything together.

Dooley: Yeah. Well, my main prop, of course, was hamburgers. I obviously, I knew obviously it was fun to me, or they would be giving me all these parts. One of them was a starring role called The Perfect Couple, yeah. But you know, so in the third movie, they had me write it and they gave me an acting part. I was able to recommend two friends to be in Popeye, who played Olive Oyl’s father, Cole Oyl, and the guy who played Geezil, who’s a pushcart vendor, Richard Libertini. These are friends of mine who are great in comedy. But he trusted me. If I recommended somebody, he would listen. I loved the guy. I loved him. He’s a great guy, but he’s responsible for my whole film career.

CS: No, it’s incredible. And they had a body of work that speaks for itself. I guess my last question would be, this was Robin’s first big movie. Obviously, he’d been Mork, but this was his first big starring role. And I just wanted to know, you guys had a lot of scenes together and stuff. Did it feel like he was a natural or were there hiccups? Or was he just like, out of the gate, just a star?

Dooley: Well, as you know, on every movie set you have more downtime than film time with lighting and one thing and another. So you might work 10 minutes and be on for 15. He was always our court jester. He was always on. He was always entertaining us, so considering how boring it can be to make movies because there’s so much downtime and waiting, we were thrilled to have him there. So him being an obsessive person who can’t stop entertaining was good for us. So he was very much on. He always kept us amused. And I did notice, though, that sometimes he would flag, toward the end of the day, maybe and he would retreat back into himself and get a little bit melancholy and be opposite of being on. He was now off, you know, which I always thought he was refreshing his batteries or something. And I also personally thought he might’ve been an undiagnosed manic depressive, because he was manic. And when he wasn’t, he was kind of melancholy. And if you think of it, most of his serious acting in movies, he’s kind of melancholy.

CS: Absolutely.

Dooley: There was a sadness about him.

CS: Even to Popeye.

Dooley: It’s a very interesting place.

CS: Even to the character of Popeye.

Dooley: The yin and the yang of him. Yeah. By the way, because of how he is, you don’t get to know Robin that well. If he’s always just doing nothing but entertaining you, he’s not listening to anything you’re saying. He’s performing for you. He’s not saying, “How are your kids?” or “How is your girlfriend?” Or, how is this? How is that? How did you get started? What are your interests? He doesn’t do any of that. He’s busy being Robin. I’ve got to say, he’s awfully entertaining and amazingly quick. He’s one of the fastest minds in comedy. What an amazing guy. I was shocked to hear that he’d passed away.

CS: I know, I know. Well, tt was an absolute pleasure chatting with you today. I’m very fond of this movie. I’m very fond of you, sir, and all your roles. Breaking Away, 16 Candles. You’re one of the greats, as far as I’m concerned. So thank you very much for talking to me, today.

Dooley: Well, thank you so much, Max.

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Damien Chazelle’s Babylon Adds Li Jun Li as Anna May Wong

According to Collider, Li Jun Li (Wu Assassins, Evil) has been tapped to portray the role of Anna May Wong in director Damien Chazelle’s upcoming period drama film Babylon which will be led by Oscar winner Brad Pitt. This new casting addition comes after it has been confirmed that Oscar nominee Margot Robbie is currently in early talks to replace Emma Stone for the female lead.

The late veteran actress Anna May Wong gained recognition as the first Chinese American Hollywood movie star. She is known for starring in silent films such as The Toll of the Sea and The Thief of Bagdad. Wong also found success as a fashion icon and an international stage star in Europe. Additionally, she is known for famously turning down a supporting role in Metro-Goldwyn-Mayer’s The Good Earth when the studio had refused to consider her for the lead role of the Chinese character and had instead opted to cast a white actor to play the POC role in yellowface. Wong was most recently been portrayed by Michelle Krusiec in Ryan Murphy’s Netflix miniseries Hollywood.

RELATED: Brad Pitt-Led Bullet Train Lands Oscar Nominee Michael Shannon

Babylon is described as an original drama set in period Hollywood, a “bold auteur piece with a significant budget.” Lionsgate was previously in the lead to land the movie at auction until Paramount came through with the winning bid.

Paramount has high expectations for the project as they have already slated it for a limited Christmas Day 2021 release in theaters followed by a wide release on January 7, 2022, a prime slate for Oscar season, and given Chazelle’s 23 Oscar nominations across three films. However, given the world’s current situation, it remains unclear if the pandemic had also affected the project’s planned release.

RELATED: Quentin Tarantino Sets Once Upon a Time in Hollywood Novel for 2021

Chazelle, whose credits include 10 Cloverfield Lane, Whiplash, First Man, and The Last Exorcism Part II, wrote the script and will direct. Olivia Hamilton, Matt Plouffe, and Marc Platt will serve as producers.

(Photo by Walt Disney Television via Getty Images/Phillippe Bosse/Walt Disney Television via Getty Images)

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Small Dark Look: Jason Statham in Talks for Focus Features’ Mob Drama

According to Deadline, Hobbs & Shaw star Jason Statham has entered negotiations for the leading role in Focus Features’ upcoming crime drama film titled Small Dark Look. In addition, the studio has also enlisted a new director for the project with Martin Zandvliet (Land of Mine) signing on to replace William Oldroyd, who has been attached to the project for two years.

RELATED: Aubrey Plaza Joins Jason Statham in Guy Ritchie’s Spy Thriller Film

Further details about the film’s plot and characters are still being kept under wraps but it is said to be centering around a Russian Mafia in London. Small Dark Look is written by Oscar nominee Steven Knight (Dirty Pretty Things). It will be produced by Paul Webster.

The project was previously titled as Body Cross and was originally set up as a sequel to David Cronenberg’s 2007 film Eastern Promises starring Viggo Mortensen and Naomi Watts which was also written by Knight. However, it seems like the studio is now going on a different direction.

RELATED: Gucci: De Niro, Pacino & More in Talks for Ridley Scott Crime Drama

Jason Statham is best known for his performances in action movies such as the Transporter trilogy, The Italian Job, War, Spy, Mechanic: Resurrection, Chaos, The Expendables films, and the Fast & Furious films. He will next be seen in long-time collaborator Guy Ritchie’s action thriller Wrath of Man starring alongside Scott Eastwood and Josh Hartnett.

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The Dig Trailer: Carey Mulligan & Ralph Fiennes Star in New Netflix Film

Netflix has released the official trailer for their upcoming drama film adaptation of The Dig, based on author John Preston’s 2007 novel of the same name. The video features Ralph Fiennes and Carey Mulligan as their characters discover an ancient Anglo-Saxon burial site while the country is on the brink of World War II. Also starring Lily James, the film will arrive in select theaters on January 15, 2021, followed by its streaming debut on January 29, 2021. Check out the video in the player below!

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As WWII looms, a wealthy widow named Edith Pretty hires an amateur archaeologist to excavate the burial mounds on her estate. When they make a historic discovery, the echoes of Britain’s past resonate in the face of its uncertain future‎.

Pick up a copy of the novel here!

The Dig will be led by Oscar nominees Carey Mulligan (An Education, Never Let Me Go), and Ralph Fiennes (Harry Potter films, The English Patient) along with Lily James (Baby Driver, Downton Abbey) and Johnny Flynn (Emma, Stardust). It will also feature Ben Chaplin, Ken Stott and Monica Dolan.

RELATED: Ralph Fiennes to Play Miss Trunchbull in Netflix’s Matilda Film!

Based the real-life events of the 1939 excavation of Sutton Hoo, The Dig is directed by Simon Stone (The Daughter) from a screenplay adapted by Harlots creator and Jane Eyre scripter Moira Buffini. It is produced by Gabrielle Tana, Carolyn Marks Blackwood, Murray Ferguson and Ellie Wood.

The project was originally set up at BBC Films with Fiennes and Nicole Kidman (Big Little Lies) set to star in the project, but once it moved to the streaming service, Kidman left the project and Mulligan has signed on to replace her.

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CS Video: Buddy Games Interviews With Duhamel, Bakkedahl & Dillon

Just ahead of its Thanksgiving Eve digital debut, ComingSoon.net got the chance to talk with Buddy Games co-writer/director/star Josh Duhamel and stars Dan Bakkedahl and Kevin Dillon to discuss their hilarious roles in Duhamel’s directorial debut. Our interview can be viewed in the player below!

RELATED: Exclusive Buddy Games Clip Sees The Guys Face The Dragon

After six lifelong friends have a five year falling out, Bob (Duhamel), aka “The Bobfather”, reunites his pals for the Buddy Games, an insane competition of absurd physical and mental challenges with the chance to win a $150,000 pot. Now all bets are off, as the determined dudes fight, claw, and party for the big bucks.

Click here to purchase Buddy Games!

In addition to Duhamel, the ensemble cast for the film includes Kevin Dillon (Entourage), Olivia Munn (The Predator; Love, Wedding, Repeat), Dan Bakkedahl (Space Force, Sword of Trust), James Roday (Psych, A Million Little Pieces), Dax Shepard (Bless This Mess, CHiPS) and Nick Swardson (The Wrong Missy, Grandma’s Boy).

Duhamel co-wrote the script with Bob Schwartz and Jude Weng (Fresh Off the Boat, Ghosted), with the latter also producing alongside Duhamel and Michael J. Luisi (Fighting With My Family, Killing Hasselhoff), while Jamie Elliott (Blood Brother, The Main Event) and Ralph E. Portillo (Armed Response, Fighting With My Family) are attached as co-producers and Richard Lowell (Rumble, The Marine) is executive producing.

RELATED: Exclusive Dating Amber Clip From Samuel Goldwyn Films’ New Comedy

Buddy Games is now available on digital platforms and video-on-demand!

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