Universal delays Jennifer Lopez-Owen Wilson-led Marry Me to 2022

Just a few months after bumping the film’s release by three months, Universal has decided to issue a bigger delay to the Jennifer Lopez and Owen Wilson-starring romantic comedy Marry Me as it moves from May 2021 to Valentine’s Day weekend 2022.

RELATED: Baz Luhrmann’s Elvis Biopic Delays Release to Mid-2022

Kat Valdez (Lopez) is half of the sexiest celebrity power couple on Earth with hot new music supernova Bastian (Maluma, making his feature-film debut). As Kat and Bastian’s inescapable hit single, “Marry Me,” climbs the charts, they are about to be wed before an audience of their fans in a ceremony that will stream across multiple platforms.

Divorced high-school math teacher Charlie Gilbert (Owen Wilson) has been dragged to the concert by his daughter Lou (Chloe Coleman, HBO’s Big Little Lies) and his best friend (Sarah Silverman, Ralph Breaks the Internet). When Kat learns, seconds before the ceremony, that Bastian has cheated on her with her assistant, her life turns left as she has a meltdown on stage, questioning love, truth, and loyalty. As her gossamer world falls away, she locks eyes with a stranger—a face in the crowd.

If what you know lets you down, then perhaps what you don’t know is the answer, and so, in a moment of inspired insanity, Kat chooses to marry Charlie. What begins as an impulsive reaction evolves into an unexpected romance. But as forces conspire to separate them, the universal question arises: Can two people from such different worlds bridge the gulf between them and build a place where they both belong?

RELATED: Jordan Peele’s Next Horror Film Lands 2022 Release at Universal

Marry Me is directed by Kat Coiro (FX’s It’s Always Sunny in Philadelphia, Netflix’s Dead to Me) from a screenplay by John Rogers (TNT’s The Librarians) and Tami Sagher (NBC’s 30 Rock) and Harper Dill (Fox’s The Mick) based on the graphic novel by Bobby Crosby. The film is produced by Elaine Goldsmith-Thomas (Hustlers, Maid in Manhattan), Jennifer Lopez, Benny Medina (Hustlers, NBC’s The Fresh Prince of Bel-Air), and John Rogers. The film’s executive producers are Alex Brown, Willie Mercer, Pamela Thur, and J.B. Roberts.

(Photo Credit: James Devaney/GC Images)

The post Universal Delays Jennifer Lopez-Owen Wilson-Led Marry Me to 2022 appeared first on ComingSoon.net.

CS Score reviews Edward Scissorhands, Roger Rabbit & interviews Ilan Eshkeri

CS Score is back, baby! Apologies for the delay. The holidays ruined everything and delayed a bunch of interviews. But don’t worry, we’ve got some fun stuff coming in the next month or so, including an interview with the one and only Henry Jackman, composer of the upcoming drama Cherry and the Disney+ series The Falcon and the Winter Soldier.

For this edition, we’ve got a treat that’s just as delicious — an excellent interview with composer Ilan Eshkeri, who talks about his work on David Attenborough’s A Perfect Planet as well as his excellent score for the video game Ghost of Tsushima. We’ll also take a look at Waxwork Records’ vinyl release of Edward Scissorhands and review Intrada’s re-release of Alan Silvestri’s Who Framed Roger Rabbit?

Let’s do this thing!

News

Finally it’s back! We have 500 units of the #HarryPotter #JohnWilliams #Soundtrack Collection (7-CD set) coming back in stock! Order now at https://t.co/M4LZNDtqCp They’ll be shipping out later this month! @MuggleNet pic.twitter.com/r4z93uKfbt

— La-La Land Records (@LaLaLandRecords) February 2, 2021

Available to order now at https://t.co/M4LZNDtqCp – world premiere full #soundtrack score release of #HardRain by #ChristopherYoung – Limited Edition CD release of 1000 units! #ChristianSlater #MorganFreeman #90s pic.twitter.com/6kPYMueQKX

— La-La Land Records (@LaLaLandRecords) February 2, 2021

Back in stock! PATTON and CHINATOWN. Two classic scores by Jerry Goldsmith. https://t.co/YFQ8wlDAdz

— Intrada (@IntradaCDs) January 30, 2021

Review

Edward Scissorhands
Danny Elfman

Say what you will about Tim Burton, but his patented (some would say overdone) gothic schtick always brings with it a wonderful score by Danny Elfman. The duo have collaborated on 16 films dating back to Pee Wee’s Big Adventure. And while their more recent work hasn’t quite reached the same level, the pair absolutely dominated the late 80s/90s with films such as Beetlejuice, Batman, Batman Returns, Mars Attacks!, Sleepy Hollow, Tim Burton’s The Nightmare Before Christmas and, of course, Edward Scissorhands.

Edward Scissorhands stands as the most impressive of Burton and Elfman’s collaborations. The haunting vocals and bouncy circus-styled rhythms have remained an Elfman trademark, appearing in his scores for Spider-Man, Sleepy Hollow, and Burton’s Frankenweenie, but here sound fresh and unique. Indeed, there’s a feeling of tragedy permeating throughout Scissorhands that occasionally threatens to overtake the more whimsical aspects of the score, but Elfman always pushes against the darkness with powerful bursts of enchantment as heard in the famous track “Ice Dance.”

The soundtrack is divided into two parts, “Part One: Edward Meets the World …”, which opens with the terrific track “Introduction (Titles)” that plays over the opening credits. Said track introduces the first of two themes Elfman employs for the album, with Theme A best described as a waltz coated with the aforementioned choir. Theme B, or the Love Theme, makes its first appearance in “Storytime” and appears briefly throughout Part One before Elfman lets the theme take center stage in “Ice Dance.” The remainder of Part One segues between lighter fare, such as the track “Edward the Barber,” which features a fun and plucky violin solo as Edward uses his talents to reshape the lawn hedges throughout the neighborhood; and the bouncy, rhythmic “Cookie Factory” that utilizes many of the same zany aspects heard in Nightmare Before Christmas and Pee Wee’s Big Adventure.

Naturally, Burton’s film takes a much darker tone in its final act; and Elfman’s music follows suit in tracks such as the aggressive “The Tide Turns (Suite),” which sounds very Batman-esque and even features the same driving rhythms heard in “Attack of the Batwing” in Batman. The action continues in “The Final Confrontation” before the music dips back into melancholy with “Farewell.” “The Grand Finale” segues back and forth between the soundtrack’s two themes before exploding into a truly enchanting rendition of the Love Theme that plays out over the film’s closing credits. The soundtrack closes with the Tom Jones song “With These Hands,” which feels ridiculously out of place but doesn’t hamper the experience too much.

Edward Scissorhands remains Elfman’s magnum opus, an astonishing score that delights, haunts, and captivates the listener with each and every track.

As a side, in a 2015 interview with Vulture, Elfman spoke of his score for Edward Scissorhands and offered some insight into his creative process, or lack thereof:

“I’ve always enjoyed using some kind of choir, or the boys’ soprano soloist; there’s just something about the sound of children that particularly gets me.

There was nothing to indicate what music should be played for this movie. I had two themes for Edward Scissorhands but no themes for anybody else. That’s just the way it came together.

Frequently, my process isn’t really a process. It’s what scenes form in front of me and trying to explain it. I don’t know what made me want to use children’s voices other than telling the story and telling the fairy tale. I think that probably opened the door to Tchaikovsky and using a choir in that way, I’m sure. But it’s all very unconscious.

Edward was a really cool process of being left alone with Tim. Nobody was watching over our shoulders, nobody even seemed concerned that we were even writing a score or working on the music. We were just two weird guys working on our own, under the radar and everything.

And the result was Edward.”

So, why bring up Edward Scissorhands now? Well, the folks over at Waxwork Records saw fit to repackage the original motion picture soundtrack with the 30th Anniversary Deluxe LP, replete with new artwork by Ruiz Burgos, a 180 gram “ice sculpture blue with snow splatter” color vinyl, and re-mastered audio for vinyl from the original masters.

Here are some shots of the set:

Currently, the record is sold out at Waxwork Records, but keep your eye out for this gem of a release; and get your hands on it as soon as it becomes available once more.

Click here to purchase!

Who Framed Roger Rabbit
Alan Silvestri

Alan Silvestri’s Who Framed Roger Rabbit? is not for the faint of heart. The score zips along like a wacky cousin to Back to the Future, replete with the composer’s signature driving rhythms and action gusto, albeit in a much loonier fashion. In other words, if you dread “Mickey Mouse” cartoon music then you best steer clear of this release.

For those who can stomach the madness, Who Framed Roger Rabbit? stands as one of Silvestri’s crowning achievements, expertly blending elements of film noir with the zaniness of those classic Looney Tunes shorts featuring Bugs Bunny, Daffy Duck, and others.

For years, Silvestri’s score remained one of those hard to get releases collectors desperately had to search for on eBay. Thanks to Intrada, the soundtrack was re-released as a 3CD set featuring nearly all of the music composed for the film in the original manner it was intended. Linear notes explain that nearly every cue was tweaked with in some way and either repurposed, shortened, mixed with other tracks or cut altogether. In this case, the results aren’t entirely noticeable in the film, but this amazing presentation of Silvestri’s work offers a unique insight into the composer’s thought process.

The soundtrack commences with the wackiness right off the bat with the Maroon Toon Logo theme that pays tribute to Carl Stalling, who, a quick Google search reveals, produced a new score for Warner Bros.’ animated shorts once a week for 22 years — #legend. More wackiness ensues in the track “Cartoon,” which plays over the Roger Rabbit/Baby Herman short that opens Robert Zemeckis’ film. Things slow down with “Valiant & Valiant,” a somber track dominated largely by trumpet and piano before a bell toll ushers in the appearance of “Judge Doom” along with a bit of sinister music that accompanies Christopher Lloyd’s genuinely terrifying villain and continues into the track “The Weasels.”

“Strange Bedfellows” closely mimics the sound Silvestri employed for Doc Brown in Back to the Future, but also introduces a recurring motif heard in the various action cues spread throughout the score — in his Movie Music UK review, writer Jonathan Broxton describes this music as written with “a spiky, insistent edge that makes use of oddly-metered rhythms, woodwind trills, and clattering xylophones in the percussion section. One particular recurring motif moves through much of the action music, a sort of tremolo effect which is first heard in this cue on flutes, before shifting to strings at the 30 second mark.” This is one of the score’s most exciting aspects — I genuinely love Silvestri’s action writing here, especially as its played more aggressively with percussions later in the soundtrack in tracks such as “Got Ya, Kid,” where it’s accompanied by drums, bells, and heavy brass. (“Got Ya, Kid” also employs plenty of wild jazz to go along with the action, which works surprisingly well.)

“Toon Killed My Brother” and “Have a Good Man” are shorter tracks that feature the softer “love” theme of the pic, while “R.K. Maroon” goes full jazz and segues from playful to dark and sinister to moody blues and back again at least a dozen times.

Then we get to another big action cue, the track “The Getaway,” which delves into a western-ish fanfare before presenting the aforementioned action motif once more. This track paves the way for “Toontown,” a lengthy 6-minute bundle of wacky action score that really encapsulates the enormity and insanity of Zemeckis’ film. It’s a wild track, for sure, but one of the most exciting pieces of music found on the entire album.

More zaniness ensues with “The Kick/The Climbing” before the film comes winds down with the track “Saved” and closes with “Big Kiss/Smile, Darn Ya, Smile” and “End Credits — Roger Rabbit Medley (Film Version).”

This 3CD set doesn’t stop there. Also featured are alternate takes of various tracks and even bonus cues from the short films “Rollercoaster Rabbit” and “Trail Mix-Up” by Bruce Broughton and “Tummy Trouble” by James Horner. The original 1988 soundtrack album is also presented here for those longing for more compressed cues.

All told, Who Framed Roger Rabbit? is a classic film score bursting with energy and playful themes made during a time when Silvestri was at the top of his game; and this Intrada presentation is the only way to fully enjoy the composer’s masterwork.

Purchase at Intrada by clicking here!

Or click here to purchase!

Ilan Eshkeri Interview

ComingSoon.net: What drew you to Perfect Planet?

Ilan Eshkeri: Well, that’s a great question, because it wasn’t simple for me, you know? This is my fourth project that I’ve done with David Attenborough over the years. And so, in some ways I’d already scratched the David Attenborough itch, if you know what I mean? I’d had the privilege [of working with him] before and so there needed to be something about it that drew me to it. And the most important thing was what the project was about because we are in such a dire situation right now in terms of the planet. And I see myself with my daughter talking about this — she’s five, but I realized that I’m teaching her to recycle. I’m teaching her about sustainability. I’m teaching her not to waste food, but as a kid who grew up in that late seventies, early eighties, we didn’t talk about those kinds of things.

And it seems to me that that there’s something really important happening with teaching the next generation of children to see the world in a different way, to see the world as a place that we’re part of, that we contribute to as much as we take from. Whereas in the past the world was just something that we use for our own benefit. And the children that are growing up now, they’re going to be the next world leaders, the next business leaders, the next scientists, the next doctors; and out there on their call, they’ll have a different way of perceiving the planet than we do, and that’s really important.

So, when I started talking about this program, I thought this is a chance for me to expand upon that feeling into my work and try to, in my own small way, through music, educate a wider audience into the same way that I’m thinking, which I think is extremely important. So, that was really the guiding desire.

And the other thing was, I remember going into the production companies in Bristol, which is outside of London. It’s a two-hour train journey and I really thought about it on the way there. I went into the meeting and I said, “Look, normally the way that these series are done, it’s a very symphonic, classical approach. And I don’t want to do that. And if you want that — don’t hire me! What I’d like to do is I’d like to take a more contemporary approach to it.” And, the production was really into that. Actually, the whole way through the project, the production team were very, very generous with their belief in whatever idea I threw at them. Not all of the ideas stuck. We worked through a lot of music, but I believe that we brought musically a different approach to the series.

CS: Do you find a project of this magnitude — where you’ve got so many things happening throughout the course of the film — daunting?

Eshkeri: Yeah. It’s always daunting. Doing a job like this, and like I said, I’ve done some like this before — so I kind of knew what to expect — but it is daunting because normally when you write a TV series or film you have to write a few themes — you have to write a good guy theme, a bad guy theme — whatever — the love theme — I’m stereotyping here, but you know what I mean? You have a handful of themes you have to write. But with this, it’s like writing 45 short films because that’s what it is. You meet these snub-nosed monkeys with blue faces, and they’ve got a theme, and then you meet some ants, and they’ve got a theme, and then you meet some penguins, and they’ve got a theme, but each of the stories of these animals is encapsulated in a three to five-minute sequence.

And then I’d look at the sequence and I’d say, okay, well, this is like a heist, this scene is a tragic love story, this scene is like a horror movie, you know, whatever it is. I discussed that with the director, and I’d work out what it is. And yes, it was like writing many, many short films. So that bit of it is daunting. But what was really important to me was — when I’ve watched the series in the past it seems to me that the music just rolls. It goes on from a sequence where you meet this creature and then it goes onto the next creature and the next creature after that, but there isn’t an anchor and I really wanted to write a theme that’s the front title, end title, and also comes in between all the sequences so that you have an anchor that keeps bringing you back. And this was the theme that I wrote, it’s called “A Perfect Planet,” which for me is the Earth theme, the Mother Nature theme. It has voices, and it has these very simple, moving arpeggio string lines, sometimes a bit of piano, something that really connects easily with the soul somehow.

The whole idea that we discussed at the initial meetings was that this is a celebration of the planet. This is an opportunity to see how beautiful it is. There’s a whole episode on volcanoes — volcanoes are normally the bad guys, right? Well, not in this series. Volcanoes give us life. They’re the fundamental, the basic — where it all begins. And so, the whole idea was to make this a celebration. And then in the final episode, that’s killer episode where you then see — oh my God, we’ve had this perfect place, and this is what we’re doing to unbalance it. That’s really worrying, but also this is what we could do to help and make it better.

CS: You’ve worked on a number of David Attenborough projects. Have you ever met or interacted with him?

Eshkeri: I have met David on several occasions on the projects I’ve worked on, but on this one, the vast majority of this project was done during lockdown. So, David, being in his nineties, wasn’t leaving his house. So, there was no opportunity. I didn’t get to meet him or interact with him. I do know that when he records the voiceover, which he did in his living room, they brought a truck to his house and passed the cable through a window and he recorded it there in his living room. When he records the voiceover, I know they play the music to him. And I know from my previous experiences with him, he loves music and he is opinionated about music. So, I think if he had a problem with it, I’m sure he would say something.

My memory goes back to the first project I ever did with him. And on that project, we were recording in Abbey Road Studios and he came, and he spent the morning with us on one of the days. And then he left. I mean, it was such a privilege to have him sat next to me in the control room to discuss the music — he’s a very capable pianist. He can read music and he knows music. So, it was brilliant. It was lovely to have him there. Then he left and I went out onto the floor at Abbey Road Studios, you know, where they recorded Star Wars and Harry Potter and a thousand film scores that we grew up watching.

So, I went out there to just say a few words to the orchestra about what we were going to do next before the lunch break. And as I got up into the conductor’s podium, out of nowhere a butterfly came and landed on the stand — this was November! It was freezing cold outside; and as you probably imagine, there was a lot of doors between the recording studio and the outside world. It’s not easy to get into. How on earth was there a butterfly in there from the recording studio? It was really an extraordinary and very magical moment. I like to think that David somehow released it into the studio.

CS: You’ve written scores for films such as Stardust and Kick-Ass, and you recently did the video game score for Ghost of Tsushima, which I just beat by the way — and, for the record, loved your music —

Eshkeri: Which ending did you choose?

CS: I spared the uncle.

Ilan: Go back and do the other ending because the music when he kills the uncle is much, much more emotional. I would definitely, from a music point of view, definitely want to go that way.

CS: Absolutely! I’ll have to go check that out. And that goes with my question, because you’ve discussed the difficulties of scoring a documentary … do you face the same challenges with video games? Or is that a completely different beast altogether?

Eshkeri: Absolutely. But it’s a different discipline. I mean, there’s very few situations in the video game — well, I’ve only done two video games, the Sims and Ghost. The only place where I had to write two alternative things was that moment [in Ghost]. So, there wasn’t a lot of repetition like that.

I’ll say two things about this. The discipline of writing a video game is different because you need to write music that works in layers. And so, if you take some of those layers away the music still works, and if you put them all together it still works. That way you get these different intensities of music, so you can play and as you’re fighting, it gets more intense or less intense depending on what you’re doing. But that’s because there’s drums all the way through, but they only come in when certain things happen or however the construction of the interactive element of the game is conceived. And it’s really useful if you know that, because then it becomes a tool that you can use, right?

Every discipline has its own set of rules, its own way of interacting with the audience. And you have to bear that in mind when you’re writing it. So, with a video game, what that means is that sometimes with your violas or the bits that are normally hidden in the orchestra, you can just hide them. They don’t work so hard. With something like Ghost, when I was doing the taiko drums, I was like, well, this part could just be on that side. So, you’ve got to really write the shit out of those taiko drums … you’ve got to really make sure that viola part that normally nobody would hear and would normally just be filling in the gap in-between the violins and cellos — no disrespect to the brilliant viola players — but suddenly you’re like, well, what if that was the top line? What if that was the bit that everyone was hearing? So, you’ve got to write every line of music like it might a solo. And so that is definitely a unique challenge about video games.

The other thing that I would say about it though, is that in every other way it’s exactly the same as doing anything else because it’s just the latest iteration of the oldest form of human art. In Australia, they just found the oldest cave paintings — older than anything they found before. There were these drawings and these handprints; and those cavemen all those tens of thousands of years ago, what were they doing? They were telling a story through art, through the creation of something. And then people sang songs and they told stories through singing songs and then they act out things and they told stories through acting and performing and theater was born; and then opera and then ballet … all these different ways of telling stories. Then one day somebody creates cinema. Then one day somebody creates video games, and video games are just the latest way in which human beings are enjoying telling stories. And so on that level, if you’re writing music that is describing an emotional narrative, which is what I do, then the job on that level is exactly the same.

CS: That’s interesting. In the case of Ghost, it feels like a movie; and your music drives the plot and the story and the action.

Eshkeri: Well, the plot is incredible! I was very reluctant to take on the project, because I was like, it’s like a samurai slicing up some people — it’s blood and fighting. I don’t know what I’ve got to say about that. I don’t have a moral point of view on it. I have a creative point of view on it. I’m like, I don’t have anything emotionally to say about that. I didn’t really want to do the project, but I went out and they politely did the meeting with Sucker Punch and I walked out of that meeting completely speechless. The story is compelling and it’s a story of the ages. It’s a story about how we accept the past that our forefathers gave us whilst trying to forge a new way with the future. I mean, every generation has wrestled with that particular emotional battle. And this was a very rich place from which to write music.

CS: That’s interesting that you’d say that. I grew up listening to James Horner and he would talk about how he always scored the emotional beats of a film — especially during the action scenes.

Eshkeri: I absolutely adhere to that! My mentor Michael Kamen said that as well, because you know music does the job words cannot fulfill, right? That is the point of music. Music can express something that sometimes words can’t, and music is all about emotion. And so absolutely even in the action sequences. I mean, you can write action for the sake of action. But it gets tedious. What is my character feeling in that moment? It’s all about the emotion. Absolutely. Your job is to tell the emotional narrative. Absolutely.

James Horner is a huge hero of mine that I grew up listening to his music. What a tragedy that he left us so long before his time. But yeah, I one hundred percent agree with that idea. I think, whether I was scoring a cave painting or the latest computer game, that the same principle would be there. I would look at what was on the screen and I would say, what is this person feeling and how do I translate that into music?

CS: Do you have any other projects coming up that you can talk about?

Eshkeri: Absolutely! Around the time that I was doing ghost, in the summer of 2019, I had finally brought together, after years of work, this project called Space Station Earth. It’s a film, which I’ve directed and written all the music for; and I did it in collaboration with the European Space Agency, which is our version of NASA, and the astronaut Tim Peake, who contacted me — he was a fan of my music — and before he went to the international space station, he asked me if I would do some music for him. I was so inspired. I went to meet him at Johnson Space Center, and I was so inspired by the time we spent together that I thought, why are we just making one short thing? Why don’t I make like a big, long film and tour it like a live show?

So, the film is a live show, a live show of images of space, the astronauts traveling up to the space station … and it’s just music that accompanies it; and it ties in nicely with your previous question, because I thought there was so many documentaries explaining about the International Space Station, interviews with astronauts; but the astronauts, they all share this unique experience of — you know, there’s only been 550 or so astronauts — and all of them, wherever they are from the world, share this thing. Some people call it the overview effect, but it’s the experience of being physically off the planet and looking down on it. It’s a life-changing experience, and I really wanted to try and express the journey and that experience, because words … there aren’t enough words to describe it. Could I express that through music?

We got to do our first performance in Stockholm, and we had a satellite link up to the International Space Station. It was very exciting. And 10,000 people turned up to see that. It was a free concert in the square in Stockholm, the main square; and 10,000 people turned up to see it and to see a couple of astronauts chatting away and talking to the commander of the space station live. And then we came up and I was really nervous. I was like, this is very risky. It’s like three screens of images and just us playing music for an hour. How’s that going to go down? I don’t know. There’s 10,000 people here and I thought by the end of this there’s going to be 10 people standing in front of me. But actually, they all stayed. Ten thousand people started there, and 10,000 people applauded at the end. It really was great.

We had already had plans to do a bunch of touring around Europe, but then the pandemic hit so that all got put on hold. You know, we were going to play Glastonbury. I had all these festivals lined up. It was amazing. But anyway, so all that got put on hold. Now, as of January, we have put all these plans back together, and I’m not really allowed to say what’s happening yet, but keep an eye on my social media and there’ll be some updates very soon about the tour for my show Space Station Earth.

For more info about Ilan’s upcoming tour or any of his works, visit: ilaneshkeri.com. Follow him on Twitter @ilaneshkeri and Facebook @IlanEshkeri.

The post CS Score Reviews Edward Scissorhands, Roger Rabbit & Interviews Ilan Eshkeri appeared first on ComingSoon.net.

CS Collectibles: Jabba, Storm, Optimus Prime & More!

Hello and welcome to the latest edition of CS Collectibles, ComingSoon.net’s newest weekly column that brings you the best in premium collectibles! Find out all the latest on statues, figures, posters, cards, eBay deals, Amazon deals & much more below!

NEWS

Swing around the city in high-tech style with the Spider-Man (Iron Spider Armor) Sixth Scale Figure by Hot Toys!https://t.co/moh4HvJ8C4@hottoysofficial #SideshowCollectibles #SpiderMan #Marvel pic.twitter.com/Uj9jAtpE3D

— SideshowCollectibles (@collectsideshow) February 2, 2021

Join us for a 360° look at the Gladiator Hulk Maquette!https://t.co/zTiH9cIP3n#SideshowCollectibles #Marvel #PlanetHulk pic.twitter.com/gjnHpO9Vld

— SideshowCollectibles (@collectsideshow) January 31, 2021

Hot Toys doing Batman Forever figures is as sure a sign as any that the tide has turned pic.twitter.com/kgCZ7DMqy7

— Spencer Perry (@TheSpencerPerry) February 2, 2021

Have you checked out DST’s Reward Program!? Check out https://t.co/VjD6xCZavD to find out ways to earn and redeem Reward Gems! #DiamondSelectToys #RewardsProgram pic.twitter.com/FkSnGGCW9u

— Diamond Select Toys (@CollectDST) February 4, 2021

This dynamic Star Wars Gallery Diorama of Darth Vader, lightsaber in motion, is available at the Disney store! https://t.co/rlrfIsCFzV #disney #DarthVader #StarWars #diorama #collectible #diamondselect #diamondselecttoys pic.twitter.com/jodzEwLDct

— Diamond Select Toys (@CollectDST) February 3, 2021

Sideshow

“The Force will be with you. Always.”

Sideshow presents the Star Wars: Collecting a Galaxy- The Art of Sideshow deluxe hardcover book, written by Samuel C. Spitale with a foreword by Phil Tippett.

Explore every corner of the Star Wars galaxy with a behind-the-scenes look at how Sideshow conceptualizes and creates its luxury sculptures and figures that immortalize fan-favorite Star Wars characters in a wide range of collectible formats. This deluxe 348-page hardcover celebrates all of the intricate planning and artistry that goes into capturing the true essence of each iconic character, ensuring that fans have access to the most faithful, imaginative, and thorough representations of their favorite heroes, villains, and creatures like never before.

From passionate artists to eager fans, Star Wars: Collecting a Galaxy- The Art of Sideshow details the galactic journey a Star Wars collectible takes to get to collectors worldwide, with never-before-seen pre-production artwork to progressions from the sculpting and design teams, as well as the dynamic and dramatic photography that spotlights the physical presence and power of each collectible.

For fans and collectors of every generation, this is the ultimate celebration of Sideshow’s ongoing journey into the Star Wars galaxy. Bring home the Star Wars: Collecting a Galaxy- The Art of Sideshow deluxe hardcover book today!

Star Wars: Collecting a Galaxy – The Art of Sideshow Sideshow Collectibles Book – $55.00
from: Sideshow Inc.

“There will be no bargain, my young Jedi.  I shall enjoy watching you die.”

The illustrious Jabba bids you welcome! Sideshow is thrilled to present the Jabba the Hutt and Throne Deluxe Sixth Scale Figure set for your Star Wars figure collection.

Based on his famously grotesque appearance in Star Wars: Episode VI- Return of the Jedi, this Deluxe Sixth Scale Figure Set features a detailed likeness of Jabba the Hutt, measuring an intimidating 13.25” tall and over 29” wide. This sixth scale legendary crime lord is highly customizable- if we told you half the accessories he includes, you would probably short circuit!

Jabba the Hutt includes a variety of swappable features, allowing you to craft your perfect pose for the nefarious gangster. Jabba has a set of sleeping eyes, a set of open eyes, and a set of wide eyes for surveying his palace. He can be displayed with a closed mouth, open mouth, or an open mouth with his tongue exposed, and the figure includes a pair of resting arms, one right pointing arm, and one left arm with a gripping hand.

What would a palace be without a court jester? The Jabba the Hutt and Throne Deluxe Sixth Scale Figure Set includes a figure with the detailed likeness of Salacious Crumb the cackling Kowakian monkey-lizard. Salacious Crumb has articulated arms, and includes right and left crossed legs, and right and left relaxed legs for sitting on his fabric pillow. He also includes an alternate open mouth head, for recreating his famous raucous laughter.

Jabba’s Throne base is an extremely detailed environment as seen in his palace during Return of the Jedi. It includes a removable hookah with a pipe, as well as an aquarium with a non-removable Klatooine paddy frog.

As Jabba’s favorite snack, this deluxe set includes an additional Klatooine paddy frog, along with three cups and one plate of food. The throne environment also includes one fur-like rug, one leather-like rug, and nine ornamental pillows with varied designs and textures, all of which can be arranged in any configuration along the base.

We will take you to Jabba now! Add the Jabba the Hutt and Throne Deluxe Sixth Scale Figure Set to your galaxy of Star Wars collectibles today!

Jabba the Hutt and Throne Deluxe Star Wars Sixth Scale Figure – $795.00
from: Sideshow Inc.

I know.

Unlike the Empire, Sideshow has a long history of working with carbonite which is why we are able to bring collectors the latest addition to our ever-expanding line of Star Wars collectible Sixth Scale figures – Han Solo in Carbonite.

The Han Solo in Carbonite Sixth Scale Figure manages to capture (HA…get it?) the heart-stopping moment when we thought our favorite scruffy-looking nerf herder might be doomed forever.

Multiple display options allow the carbonite slab to be positioned both horizontally, as it is moved through a Bespin hallway, and vertically, as it rests in the freezing chamber.  The base includes swappable floor decos to simulate either scene, the somber exit from Bespin or the dramatic carbon chamber confrontation. Illumination in the base and along the carbon slab control panel completes the impressively detailed Star Wars Figure presentation.

Han Solo in Carbonite Star Wars Sixth Scale Figure – $249.99
from: Sideshow Inc.

Diamond Select (Amazon)

A Diamond Select Toys release! The goddess of the X-Men rises from a swirling cloud in this all-new Gallery Diorama! Measuring approximately 11.5 inches tall this sculpture of Ororo Munroe, a.k.a. Storm, is made of high-quality PVC and features detailed sculpting and paint applications. It comes packaged in a full-color window box. Designed by Caesar, sculpted by Alejandro Pereira.

Purchase DIAMOND SELECT TOYS Marvel Gallery: Storm PVC Figure

A Diamond Select Toys release! He’s the best there is at what he does, and he’s a Legend in 3D! This half-scale bust of Wolverine is based on his appearance in Marvel Comics, and measures approximately 10 inches tall. Featuring detailed sculpting and paint applications, he is limited to only 1,000 pieces, and comes packaged in a full-color box with a numbered certificate of authenticity. Designed by Joe Allard, sculpted by Rocco Tartamella.

DIAMOND SELECT TOYS Marvel: Wolverine Legends in 3-Dimensions 1:2 Scale Bust, Multicolor, 10 inches

Mondo

“Everything small is just a smaller version of something big.” – Finn

To celebrate the tenth anniversary of Cartoon Network’s beloved animated series Adventure Time and the release of Adventure Time: Distant Lands, Sideshow and Mondo are proud to bring you this Adventure Time Statue featuring Finn with his best friend and adopted brother, the magical dog Jake!

Adventure Time Jake and Finn Adventure Time Polystone Statue – $250.00
from: Sideshow Inc.

Sideshow and Mondo present the Gordon Freeman Sixth Scale Figure!

Half-Life 2 has been hailed as one of the best first-person shooters of all time, and its silent protagonist, Gordon Freeman, a gaming icon.

Available for the first time in 1:6 scale, Gordon Freeman features his iconic armor, fabric undersuit, 25+ points of articulation, multiple switch-out hands, various weapons, and his Gravity Gun with a light-up feature!

Gordon Freeman Half-Life 2 Sixth Scale Figure – $200.00
from: Sideshow Inc.

Iron Studios

Sideshow and Iron Studios are proud to announce the latest from the Battle Diorama Series Art Scale 1:10 line – Iron Man Illusion Deluxe! Based on the terrifying Iron Man Illusion from Marvel’s Spider-Man: Far From Home, this polystone statue is hand-painted and limited edition.

Spider-Man: Far From Home fans, don’t miss your chance to add Iron Man Illusion Deluxe Statue to your collection!

Iron Man Illusion Deluxe Marvel 1:10 Scale Statue – $190.00
from: Sideshow Inc.

Sideshow and Iron Studios are proud to announce the latest from the Battle Diorama Series Art Scale 1:10 line – Captain America 2023! Based on the likeness of the hero from the film Avengers: Endgame, Captain America 2023 comes with a fully detailed base that can be connected to the Endgame Battle Diorama Series.

Marvel fans, don’t miss your chance to add Captain America to your collection!

Captain America 2023 Marvel 1:10 Scale Statue – $125.00
from: Sideshow Inc.

Prime 1 Studios

“LET’S ROLL.”

Sideshow and Prime 1 Studio are proud to present the Jetpower Optimus Prime from Transformers: Revenge of the Fallen. Transformers (ROTF) is a 2009 science fiction action film. It is the sequel to 2007’s Transformers, as well as the second installment in the live-action Transformers film series. Jetpower Optimus Prime is the upgraded form of Optimus Prime with Jetfire’s parts. In this form, Optimus possess various weapons, including a cannon on his arm, a machine gun, at least one of his swords from his normal mode, and both afterburners on his back which can fire massive energy blasts as well.

Jetpower Optimus Prime Transformers Statue – $3,199.00
from: Sideshow Inc.

PCS Collectibles

Hot Toys

Star Wars fans worldwide are anxiously awaiting for the release of Star Wars: The Rise of Skywalker. In this ultimate episode of the epic Skywalker saga, a group of specialized Stormtroopers of the First Order called the Jet Troopers will soar into battle equipped with agile rocket packs.

Sideshow and Hot Toys present the Jet Trooper Sixth Scale Collectible Figure!

The highly-accurate collectible Star Wars figure is specially crafted based on the image of a First Order Jet Trooper in Star Wars: The Rise of Skywalker. This specialized trooper features a newly refined helmet and armor, a highly detailed jetpack, beautifully tailored fabric under-suit, a highly-detailed weapon, and a specially designed figure stand.

Don’t pass up on the opportunity to add these troops to your collection of a galaxy far far away!

Jet Trooper Star Wars Sixth Scale Figure – $220.00
from: Sideshow Inc.

Sideshow and Hot Toys present the Sith Trooper Sixth Scale Collectible Figure!

The highly-accurate collectible Star Wars figure is expertly crafted based on the appearance of Sith Trooper from Star Wars: The Rise of Skywalker, Episode 9 of the Skywalker Saga. The Sith Trooper features a brand-new helmet and armor designs. It has a skillfully applied paint application throughout the armor, newly developed body and under-suit, two styles of blasters, a variety of interchangeable hands, and a character-theme figure stand!

Add the Sith Trooper Sixth Scale Collectible Figure to your Star Wars collection today!

Sith Trooper Star Wars Sixth Scale Figure – $235.00
from: Sideshow Inc.

Super7

King Zarkon your days are numbered! Voltron: Defender of the Universe is here to protect planet Arus from the Drule Empire! This 3.75” articulated ReAction figure of the fully assembled Voltron comes with a Blazing Sword accessory. Protect your collection from Robeasts and get the Voltron ReAction figure today! Figure does not convert.

Purchase Super7 Voltron Reaction Figure

Robots in disguise! The Super7 x Transformers collaboration expands as more Autobots and Decepticons join the ReAction Figure world! Devastator, the evil Decepticon combiner, towers over his foes as the first 6″ tall ReAction figure and comes armed with his magna laser on a matching larger card back featuring new retro-style art! Figure does not convert.

Purchase SUPER7 TRANW02-SKY-02 Reaction Figure

Loot Crate

Rock out with exclusive TMNT tees in this limited-edition capsule collection inspired by iconic heavy metal bands. Get VIP access to the concert before these headbangin’ tees are gone forever!

Click here to order!

Wizards of the Coast

Battle through the brutal Viking world of #MTGKaldheim in Magic’s most metal set ever. The time has come. pic.twitter.com/8Y17Nh1gUC

— Magic: The Gathering (@wizards_magic) January 27, 2021

Click here to purchase Zendikar Rising Draft Booster Box!

Click here to purchase Zendikar Rising Bundle!

Click here to purchase Ikoria!

Click here to purchase Core 2021!

Click here to purchase the Kaldheim Collector Booster Box!

Click here to purchase the Kaldheim Set Booster Box!

Click here to purchase the Kaldheim Draft Booster Box!

Click here to purchase the Kaldheim Bundle!

What do you think of CS Collectibles so far? Let us know in the comments below!

The post CS Collectibles: Jabba, Storm, Optimus Prime & More! appeared first on ComingSoon.net.

Rating:

9/10

Starring:

Stephon Marbury
Ronald Stewart

Directed by Coodie and Chike Ozah

Available to stream on Netflix, or order your copy here!

A Kid from Coney Island Review

The life of an NBA player is hard. While fans drool over the athleticism, talent, and finesse of legends such as Michael Jordan, Karl Malone, and Tim Duncan, we often forget that these boys are, well, boys. The human element gets overshadowed by the business side of professional sports where the multimillion-dollar contracts are signed; and where players are quickly discarded when the franchise decides to pursue other options.

No one better exemplified the rags-to-riches-to-rags storyline than NBA superstar Stephon Marbury, whose talent made him a legend in his hometown at a very early age; and whose passion for the game eventually drove him out of the NBA altogether. From the outside looking in, Marbury looked, at the time, like another case of an ego run rampant. ESPN ran endless stories about his inability to work with others, his lack of leadership, and his constant clashes with coaches. The man once touted as a shoo-in for a title when he was drafted alongside Kevin Garnett in Minnesota was bounced around the league until the league decided it had seen enough.

What really happened?

A Kid from Coney Island retells Marbury’s story from his point of view via interviews with close friends and family members who (rightly or wrongly) paint the man as a tragic hero — a misunderstood victim undone by a series of unfortunate events, including the sudden death of his father late in his NBA career. But Coodie and Chike Ozah’s documentary is much more than another redundant 30 for 30 episode. The film ultimately serves as a cautionary tale about the sleazy underbelly of professional sports, particularly the NBA — an organization that chews through young stars the way a lion consumes a gazelle. Young men like Marbury are too blinded by fame to see their eventual demise lurking just around the corner; and before they know it find themselves blacklisted or rotting on a lottery-bound team that views them as little more than a trade chip.

We watch this firsthand in Coney Island as Marbury rises from young up-and-coming superstar alongside the likes of Kevin Garnett, Paul Pierce, Ray Allen, and Antawn Jamison, to a generational talent drafted fourth overall by the Milwaukee Bucks (who traded him to Minnesota for a future first-round pick and the draft rights to Ray Allen). Marbury and Garnett formed an incredible one-two punch, but contract disputes ultimately led to their separation; and Marbury quickly found himself leapfrogging from New Jersey to Phoenix to New York to Boston and finally out of the NBA completely.

Marbury was considered difficult to work with, a title that cemented itself when he clashed with Larry Brown at the 2004 Olympics. In fact, when the U.S. Men’s Basketball Team failed to to bring home the gold for the first time in the NBA players era, Marbury, whether deserved or not, endured most of the blame.

Before long, Marbury was seen as the superstar that never was, which forced him to pack his bags and head to China where he saw a career resurgence and eventually led the Beijing Ducks to its first-ever CBA championship; and even had a statue built in his honor.

Sounds like one of those cheesy Disney sports movies from the 90s, right?

A Kid from Coney Island is much more than that. Surprisingly packed with emotion and plenty of insight into the darker world of professional sports, this documentary hits hard in its endeavors to clear the air on one of sports’ more controversial figures. As a fan, you may still bitterly resent Marbury the player after the credits roll, but you’ll also likely gain a newfound respect for Marbury the man after watching his fall from grace and astonishing return to prominence.

The post A Kid from Coney Island Review: Stephon Marbury Doc Is Packed With Emotion & Insight appeared first on ComingSoon.net.

Jamie Lee Curtis joins Eli Roth’s Borderlands film adaptation

After already landing a two-time Oscar winner and Emmy nominee to its cast, Eli Roth’s in-development film adaptation of 2K Games’ Borderlands franchise is expanding its cast even further with the addition of two-time Golden Globe winner Jamie Lee Curtis (Knives Out) as iconic archeologist Tannis!

RELATED: Borderlands: Kevin Hart Joins Eli Roth’s Video Game Adaptation

“Working with the iconic Jamie Lee Curtis has been a life long dream of mine, and I am so excited for her to bring her humor, warmth and brilliance to the role of Tannis,” Roth said in a statement.

It was announced in May 2020 that Academy Award winner Cate Blanchett (Carol, Blue Jasmine, The Aviator) will lead the cast as Lilith, a siren and legendary thief equipped with magical skills, while last month brought word that Kevin Hart (Jumanji: Welcome to the Jungle) signed on to star as ex-soldier-turned-mercenary Roland. Curtis will play Tannis, an archeologist on Pandora who might have the key to finding the vault, but whose complicated history with Lilith (Blanchett) isn’t going to help.

Based on the bestselling PC and console gaming experience from developer Gearbox Software and publisher 2K, a wholly owned label of Take-Two Interactive Software, Inc., Borderlands will be produced by Avi Arad and Ari Arad, who produce through their Arad Productions banner, and Erik Feig, through PICTURESTART, who have shepherded the project and overseen development, including the latest draft of the screenplay by the two-time Emmy-winning screenwriter Craig Mazin. The film’s executive producers are Randy Pitchford, executive producer of the Borderlands video game franchise and founder of the Gearbox Entertainment Company, and Strauss Zelnick, chairman and CEO of Take-Two Interactive.

RELATED: Eli Roth’s History of Horror Renewed for Season 3 at AMC

Borderlands is one of the world’s most successful video game franchises, with more than 57 million units sold-in worldwide, including over 22 million units of Borderlands 2, which is the highest-selling title in the history of 2K. The most recent installment, Borderlands 3, which launched in September 2019, already sold-in nearly 8 million units worldwide and was honored with the award for “Best Multiplayer Game” at Gamescom.

(Photo Credit: Michael Kovac/Getty Images for AARP)

The post Jamie Lee Curtis Joins Eli Roth’s Borderlands Film Adaptation appeared first on ComingSoon.net.

This Was Our Pact: Peter Dinklage to produce & star in animated feature adaptation

Duncan Studio, Peter Dinklage’s Estuary Films, and Corus Entertainment’s Nelvana are producing the animated feature This Was Our Pact, based on the bestselling and award-winning graphic novel by author Ryan Andrews. Will Collins, writer of the Golden Globes nominated Wolfwalkers for Apple TV+, and the Academy Award-nominated Song of the Sea, will adapt. Additionally, Emmy and Golden Globe winner Dinklage (Game of Thrones) will voice one of the lead characters, a mysterious and charismatic bear.

RELATED: Legendary Taps Peter Dinklage to Lead The Toxic Avenger Reboot

This Was Our Pact is a magical family adventure. It’s the night of the annual Autumn Equinox Festival, when the town gathers to float paper lanterns down the river. Legend has it that after drifting out of sight, the lanterns soar off to the Milky Way and turn into brilliant stars. But this year, Ben and his classmates are determined to find out where those lanterns really go, finding themselves on an extraordinary journey filled with wonderous new sights and strange characters with only two rules; no one looks back and no one turns for home.

Ken Duncan and his studio’s original content arm, Duncan Originals, will work jointly with Estuary’s co-founders Dinklage and David Ginsberg, with development financing and additional support provided by Corus Entertainment. Also producing is Rob Hollocks, Josh Feldman, and Estuary’s Brad Saunders.

Pick up your copy of the novel here!

“This Was Our Pact is a fantastic tale full of twists and turns, but at its heart is the relationships between the characters, and their developed friendship. We’re excited to capture the unique qualities of the book, in the visual style as well as storytelling – it is utterly captivating and enchanting,” said Duncan. “With Will Collins coming on as our writer, we know this will be a film that will thrill the many fans of the graphic novel and help Ryan Andrews’ wonderful work discover new audiences.”

“I’m delighted to be a part of the team tasked with adapting This Was Our Pact into an animated feature,” commented Collins. “Ryan Andrews created a gem of a coming-of-age story which takes the reader on a journey through a unique, mysterious and beautiful place. From the outset I knew these boys, I knew the joy and pain of their friendship, and I willed that friendship to triumph with every turn of the page. It’s a pleasure to be collaborating with Ken Duncan and the talented teams at Duncan Studio, Estuary Films and Nelvana Studios to bring this story to life.”

RELATED: Peter Dinklage to Star in Searchlight’s New Psychological Thriller Keith

Ryan Andrews’ Eisner Award-nominated This Was Our Pact was a 2019 Booklist Editor’s Choice, a 2019 Kirkus Reviews Best Book of the Year, and a 2019 Parents Magazine Best Children’s Book of the Year. This Was Our Pact is the second feature film as part of the recent development partnership between Duncan Studio and Nelvana.

(Photo by Jeff Kravitz/FilmMagic for HBO via Getty Images)

The post This Was Our Pact: Peter Dinklage to Produce & Star in Animated Feature Adaptation appeared first on ComingSoon.net.

Exclusive Elizabethtown clip goes behind-the-scenes for Paramount’s Blu-ray release

ComingSoon.net has an exclusive Elizabethtown clip taking viewers behind-the-scenes of Paramount Pictures’ 2005 rom-com from Oscar winner Cameron Crowe (Almost Famous), releasing for the first time on Blu-ray on Tuesday, February 9 from Paramount Pictures Home Entertainment. Starring Orlando Bloom (The Lord of the Rings trilogy, Pirates of the Caribbean franchise, Carnival Row) and Golden Globe nominee Kirsten Dunst (Fargo, On Becoming a God in Central Florida, Interview with the Vampire), you can check out the clip in the player below and pre-order your copy of the movie here!

RELATED: Dungeons & Dragons Movie Adds Michelle Rodriguez & Justice Smith

Drew Baylor (Bloom) has been fired from his job and dumped by his girlfriend, and just when things couldn’t seem to get worse, he receives word that his father has passed away. After being asked to travel to Elizabethtown, Kentucky to make sure his father’s dying wishes are fulfilled, a life-changing romantic-odyssey awaits, after meeting an optimistic flight attendant named Claire (Dunst).

Elizabethtown comes to Blu-ray for the first time in this limited-edition release, restored from a new 4K film transfer, supervised by writer/director Cameron Crowe, and packed with special features.

RELATED: Enter ComingSoon’s Selma Giveaway From Paramount!

Special Features include:

• FILMMAKER FOCUS: Cameron Crowe on Elizabethtown
• Deleted and Extended Scenes + Introduction by Director Cameron Crowe
• On The Road To Elizabethtown
• The Music Of Elizabethtown
• “Meet the Crew” Featurette
• “Training Wheels” Featurette
• Photo Gallery by Neal Preston
• Trailers and TV Spots + More!

The post Exclusive Elizabethtown Clip Goes Behind-the-Scenes for Paramount’s Blu-ray Release appeared first on ComingSoon.net.

Dungeons & Dragons movie adds Michelle Rodriguez & Justice Smith

Paramount Pictures, Hasbro, and eOne’s Dungeons & Dragons movie has added Michelle Rodriguez (F9) and Justice Smith (Detective Pikachu) to star alongside Chris Pine (Wonder Woman 1984) in the adaptation (via Deadline). The project is based on Hasbro’s hugely popular game franchise.

RELATED: Enter ComingSoon’s Selma Giveaway From Paramount!

A synopsis for the film has not yet been released. Duo Johnathan Goldstein and John Francis Daley (Game Night) will direct as well as pen the script based on a draft by Michael Gilio.

Role-playing game Dungeons & Dragons first became popular in 1974, and since then has amassed millions of players and fans worldwide. The hugely popular property has also influenced numerous writers, directors, game designers and other creative professionals throughout its four decades. The feature was first announced in 2013 wherein a rights-dispute began between the studio and Hasbro (parent company of publisher Wizards of the Coast), but the issues were resolved last year and the film remains in development.

First adapted for the small screen as an animated television series in 1983, Gary Gygax and Dave Arneson’s iconic RPG was turned into a live-action feature film in 2000 directed by Courtney Solomon. The film was neither a critical nor financial success, but it did lead to a telefilm sequel with 2005’s Dungeons & Dragons: Wrath of the Dragon God and a direct-to-DVD follow-up with Dungeons & Dragons: The Book of Vile Darkness in 2012.

RELATED: Gotham PD’s Joe Barton Developing Cloverfield Sequel at Paramount

Dungeons & Dragons, which is being co-produced and co-financed by Hasbro, eOne, and Paramount Pictures, with the former handling distribution in the UK and Canada while Paramount distributes everywhere else, is currently slated for a May 27, 2022 release. Jeremy Latcham is producing through his deal with eOne, Hasbro’s entertainment arm, with Hasbro’s Brian Goldner also producing.

(Photo by John Lamparski/Getty Images & Jun Sato/WireImage via Getty Images)

The post Dungeons & Dragons Movie Adds Michelle Rodriguez & Justice Smith appeared first on ComingSoon.net.

Exclusive: 101 Studios Podcast The Backstory returns with new episodes featuring Bryan Fogel & more

ComingSoon.net can exclusively announce that the 101 Studios and Soho House’s podcast The Backstory is returning with new episodes on Tuesday, February 9! Guests include Academy Award-winning director Bryan Fogel (The Dissident), Casey Affleck (The World to Come), author Kathryn Scanlan (The Dominant Animal), director Darius Marder (The Sound of Metal), composer, songwriter, and producer Ludwig Göransson (The Mandalorian, Tenet), and Jim Parsons (The Big Bang Theory).

RELATED: Exclusive: Richard Kelly Talks Donnie Darko Sequel & Rod Serling Biopic

Hosted by former KCRW Morning Becomes Eclectic host Jason Bentley, The Backstory is a series of insightful discussions pairing creative innovators to share ideas and make connections.

Previous guests include Kristen Bell and Adam Grant, Margaret Cho and Paul Feig, Justin Min and Rosalind Chao, as well as Terence Blanchard and Kemp Powers.

Supporting the ethos of Soho House, a place to have fun and make an impact, The Backstory is a platform for Soho House members to connect with fellow creatives, share ideas, and collaborate. In discussions hosted by Bentley, the guests—thinkers, artists, and tastemakers from across the worlds of film, music, politics, and beyond—reveal what drives them and what inspires them, through never-before-told stories about their personal histories and the projects that brought them professional acclaim.

RELATED: CS Interview: Alan Ruck Talks Horror-Comedy Freaky, Plus Exclusive Clip!

Bentley has also supervised major motion picture soundtracks for TRON: Legacy and The Matrix trilogy, and is working with the music supervision team on the official soundtrack for the forthcoming release of Top Gun: Maverick.

The Backstory is supported by D’USSÉ Cognac. Sullivan Doh, D’USSÉ’s global brand ambassador and premier mixologist will create custom cocktails inspired by episodes from the podcast. Listeners can find the recipes included in the episode descriptions or can watch a step-by-step tutorial on D’Ussé’s social channels (@DusseCognac).

(Photo by Mark Leibowitz)

The post Exclusive: 101 Studios Podcast The Backstory Returns with New Episodes Featuring Bryan Fogel & More appeared first on ComingSoon.net.