Harrison Ford-ging ahead

Josh reporting on much Harrison Ford news. Ford has long since solidified himself as one of cinema’s most iconic megastars. Following the triple whammy of Star Wars, Indiana Jones and Blade Runner in the early 80’s, Harrison Ford received top billing for every film he was in until Morning Glory in 2010. That’s nearly 3 decades of leading man status. The last decade hasn’t been the series of hits he’s accustomed to with epic flops like Paranoia, Cowboys and Aliens, and Ender’s Game. Which is why we’re heading back to the 80’s and revisiting peak Ford.

The big news this week is he’s once again returning as Indiana Jones for the 5th time. If you’ve already ruined a legacy with an abysmal 4th film, why not just keep making money off it? He’ll be 77 by the time it hits our screen, and whilst age shouldn’t be a restriction on kicking ass on screen, wouldn’t it be nice to see the same for our beloved actresses? Julie Christie is only one year older than Ford. Are you listening Tomb Raider reboot? With Spielberg back, this will be as much a trip down nostalgia lane as it was seeing Ford re-treading the deck of the Millennium Falcon in The Force Awakens last year.

With the increasingly cinematically adventurous and fascinating Denis Villeneuve at the helm of the Blade Runner sequel Ford is also returning to, there’s every chance we could be in store for a fresh look at the vivid world Scott created in the 80’s. That imagined future was so realised and dynamic, it leaves the story very open for new ambitious directions. So far rumours indicate that Ryan Gosling will actually be the lead, with Ford’s Deckard supporting in a way to anchor it to the universe we know.

The last bit of Ford related news this week is that the casting for the young Han Solo in the Star Wars spin off has been narrowed down to three. Hollywood Reporter has revealed that Alden Ehrenreich, who stole Hail, Caesar! from the rest of a stunning cast, Jack Reynor best known for Transformers: The Age of Who Cares (but solid in indies), and Taron Egerton whose charisma and scientifically perfect jawline made an impactful debut in Kingsman. This unfortunately leaves out contender Emory Cohen who made everyone in the world disappointed in their spouses in comparison to him via Brooklyn.

Are you still a passenger in the Ford car? Is the upcoming deluge of Ford reboots a Harris-ment to your childhood? Have I gone too far with these weak at best Harrison Ford puns? Let us know in the comments!

A Series of Unfortunate Casting Decisions

Laurence here with some more casting news from the television world. When news broke in 2014 that Netflix would be adapting Lemony Snicket's A Series of Unfortunate Events books into a series, it was exciting. The 2004 film adaptation never really struck a chord, nor was it successful enough to turn into the Harry Potter-esque franchise Nickelodeon wanted it to be. It was received relatively well, but it has become something of a pop culture footnote.

Television is a pretty natural place for an adaptation of a 13-book series, however, and Netflix's love of hurling absurd amounts of money at every algorithmically pleasing premise bade well for a new adaptation.

After a long time spent in 'talks', yesterday it was finally confirmed that the actor cast to play Count Olaf in the series is...Neil Patrick Harris? Now, NPH has been doing solid work in proving his range post-HIMYM. He was enjoyably creepy in Gone Girl, and his stint in Hedwig on Broadway showed he could be, well, Hedwig. But whatever you think about Jim Carrey's performance as Olaf, he was nothing if not indelible.

But NPH as Count Olaf seems, well, a stretch. There's no denying that he has comic chops. But Olaf is an evil, strange, reptilian character, such that casting NPH makes the whole thing feel sanitised and kid-friendly. Add in the fact that their casting of Violet (Malina Weissman) and Klaus (Louis Hynes) seems to be both skewing younger than the film and strangely insistent on replicating the look of the film's stars, Emily Browning and Liam Aiken.

One bright spot, at least, is the casting of Patrick Warburton as Lemony Snicket, who was played by Jude Law in the film. But despite NPH's Halloween costume bona fides, Netflix could have been more creative. Imagine Kathy Najimy as a genderbent Countess Olaf. Imagine.

Perhaps the most curious aspect is that the series is set to be directed, at least at first, by Barry Sonnenfeld of Addams Family Values fame, who was originally set to direct the film. At the time, he hired Daniel Handler (the writer behind the Snicket pen name) to adapt the books as a musical. Given that they have also cast two-time Tony nominee K. Todd Freeman, it will be interesting to find out if that's what we're going to get. But is that what the books deserve?

Colette vs. Mary Magdalene

Here's Murtada speculating very early on the 2017 Oscar race.

There’s usually a real life person in the best actress lineup. It’s not as prevalent as it is in best actor - 4 this year. But we do have Joy Mangano (Jennifer Lawrence). Last year there were Jane Hawking (Felicity Jones) and Cheryl Strayed (Reese Witherspoon). Recently we got everyone from Philomena Lee (Judi Dench) to Marilyn Monroe (Michelle Williams) and Edith Piaf (Marion Cotillard) and most famously The Queen (Helen Mirren) and her 80s nemesis Margaret Thatcher (Meryl Streep). Now we have two more possible candidates for the 2017 Oscar race as two interesting biopics were announced this week with two actresses well known to the Academy. French writer Colette (to be played by Keira Knightley) and Jesus disciple Mary Magdalene (Rooney Mara). 

Colette in 1920s

Colette is the more intriguing figure, at least to this non-believer. Born in 1873 she was a journalist, an actress, a mime and of course most famously the writer of the novel Gigi which became an Oscar winning film and a stage musical. Colette and her first husband Willy Gauthier-Villars, also a writer, were pivotal figures in the salons of the turn of the century Paris and collaborated on several novels. The rumour is that the writing was all Colette’s - shades of Big Eyes. Colette also had sexual and romantic relationships with women. And based on the people behind this film, we know they won’t shy away from telling that story.

The film is written by Wash Westmoreland and the late Richard Glatzer (Quinceañera, Still Alice), with Westmoreland directing. It will be produced by Christine Vachon and Elizabeth Karlsen who most recently produced Carol. With lukewarm reviews for her Broadway debut in Therese Requin and a small forgettable part in Everest being her only 2015 credits, this looks like a juicy part that Knightley can sink her teeth into and possibly get her career back on the upturn it was on with 2014’s double bill of Begin Again and The Imitation Game.

While I’m not into religious movies, actresses are my religion and after Carol I would follow Rooney Mara anywhere she wants to go. She’s choosing to collaborate with Garth Davis (Top of the Lake) to tell the story of Mary Magdalene. The actress - director combo is exciting especially when it’s noted that they have recently worked together on Lion (2016) - with Nicole Kidman and Dev Patel. They must have really enjoyed working together to choose to do it again so soon. Wonder who will be cast as Jesus? It’ll have to be someone fantastic if they are to replicate the explosive chemistry Mara had with her Carol co-star Cate Blanchett. This tweet says it best.

Hollywood Reporter: "Rooney Mara is in talks to play Mary Magdalene."
Me: "Jesus will NEVER love her like Carol did!"

— Heather Hogan (@hhoagie) February 3, 2016

Who would you like to see play opposite Knightley and Mara as Gauthier-Villars and Jesus?

Personal Ballot: Casting, Ensemble, Breakthrough

Ready to start pouring over Nathaniel's annual Film Bitch Awards? The time is now. As longtime readers probably have gleaned, in my secret alternate fantasy life I became a casting director. It's one of the three jobs in movies I always thought I'd be terrific at (the others being editing and screenwriting). This is not bragging. It's fan-fic journaling. All cinephiles are allowed, indeed encouraged (at least here), to harbor such 'in another life' fantasies! The natural pull of casting is probably what keys up the interesting in SAG's Ensemble category so much even though they don't ever seem to absorb the meaning of the word but just pick five pictures they liked. 

Now that SAG has had their say, here are the Film Bitch Nominees in the casting friendly categories:  Casting, Ensemble, and Breakthrough Performers. You'll see major shout outs to Sicario and Brooklyn in particular, both the casts and their casting directors (Francine Maisler and Fiona Weir, respectively). It's still mortifying that they were looked over in terms of communal acting whenever ensemble prizes were handed out anywhere. Diary of a Teenage Girl, which we probably haven't talked about enough, is also honored twice over. 

And a note to remember as you read them: If a performer is nominated in one of our regular Oscar-adjacent acting categories they are not eligible for Breakthrough (so no double dipping) which is why you don't see Jacob Tremblay from Room for example since he was already nominated in Leading Actor. 

Music Supervisors & Casting Directors have no Oscar category. But they do get prizes.

Here's two awards curiousity for your afternoon. Both involve guilds that differentiate their prizes not by genre but by budget (i.e. big, small, micro): Casting and Music Supervision.

The Guild of Music Supervisors has been giving out awards for six years now. The music supervisor's job entails finding pre existing music, getting rights to all the songs, overseeing all music related aspects of a production. This year their big winners were all films which various people have labelled "snubbed" over the past week: Straight Outta Compton, Carol, and Diary of a Teenage Girl. And Furious 7's "See You Again," which did not make Oscar's Original Song nominated shortlist, takes Original Song. (more about their awards here.) 

The Casting Society's "Artios" awards do things a little differently. They divide their awards both by budget and by comedy/drama. Their big budget winners: The Big Short / Straight Outta Compton. Their indie winners: Me and Earl and the Dying Girl and Room. Their low budget winners: Dope and The Stanford Prison Experiment.

That last one is a really great call because the film hasn't been in the conversation at all which means they were clearly thinking about its actual merit as opposed to hearing its name constantly in the "awards" circus. I've said since I saw it that one day it might read as a who's who of male stars before they were big. (More about their awards here.)