Kristen Stewart Talks Directing Debut

Kristen Stewart’s short “Come Swim” marks the actress’s directorial debut, turning a vision she had in her head for some time into a film now available for streaming globally.
Stewart was on hand Thursday evening briefly speaking about the film’s creation and the thinking behind it following a private screening at the Westside Pavilion. “Come Swim” tracks a day in the life of a man grappling with a broken heart, delving inside his personal thoughts and emotions that become so crippling before he eventually comes to and realizes he will be fine.
“It was like when you are so in your own head,” Stewart explained to those in attendance at the screening. “You have things, feelings that, in a really cliché way, are feelings you just think nobody could possibly relate to. Yet, they’re the most standard. There’s not, like, a thought or a feeling you’re going to have that nobody’s had before you, but somehow when you’re in that, you’re so alone. I wanted to be able to really step inside someone’s head and externalize that and then be able to take a step back afterwards and be like from the outside we see you so clearly.”
Water plays a symbolic role

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Ben Affleck And Antoine Fuqua Are No Longer Directing ‘The Batman’ And ‘Scarface,’ Respectively

Two high-profile directors, Ben Affleck and Antoine Fuqua, stepped down from their high-profile reboots on Tuesday night, one to focus on his acting duties and the other to make a sequel instead. Hollywood roars on! 

The first was Affleck, who announced in 2015 his plans to co-write and direct a standalone Batman movie. Then Fuqua said he would be abandoning a reboot of the gangster classic “Scarface.”

Technically, Affleck’s vision for “The Batman” ― inspired by his work on last year’s “Batman v Superman: Dawn of Justice” ― was partly influenced by the DC comic books and partly by an original story. As of a Jan. 9 appearance on “Jimmy Kimmel Live,” Affleck said he was indeed directing the upcoming film, then complained because no one seemed interested in what he was promoting at the time, the soon-to-be box-office bummer “Live By Night.” 

But apparently portraying the Caped Crusader was plenty for the elder Affleck brother, who will still star in and produce the movie, according to Variety.

“There are certain characters who hold a special place in the hearts of millions. Performing this role demands focus, passion and the very best performance I can give,” the actor said in a statement. “It has become clear that I cannot do both jobs to the level they require. Together with the studio, I have decided to find a partner in a director who will collaborate with me on this massive film. I am still in this, and we are making it, but we are currently looking for a director. I remain extremely committed to this project, and look forward to bringing this to life for fans around the world.”

Affleck’s replacement probably won’t be “Batman v Superman” director Zack Snyder, who is busy making this year’s “Justice League,” in which Affleck is set to appear as part of a three-picture contract with Warner Bros. Variety reports that “Cloverfield” and “Dawn of the Planet of the Apes” director Matt Reeves’ name has been tossed around as a possible substitute.

This is not the first time a star director has exited a Batman sequel. After Warner Bros. became nervous that Tim Burton had made 1992’s “Batman Returns” too dark for children, the studio hired Joel Schumacher as a replacement. Revenue soared, but reviews dwindled. Today, Schumacher’s two Batman installments are often mocked. (No pressure, Ben!)

As for “Scarface,” director Fuqua (”Training Day,” “Olympus Has Fallen”) had to choose between that film and a sequel to 2014’s “The Equalizer,” which Variety and The Hollywood Reporter indicate is on the fast track at Sony, with Denzel Washington slated to reprise his role. Fuqua had already spent considerable time developing the “Equalizer” follow-up, so he picked that project.

The upcoming “Scarface” will be the second reboot of Howard Hawks and Richard Rosson’s 1932 film loosely based on the life of Al Capone. (The first remake was Brian De Palma’s 1983 version starring Al Pacino.) Diego Luno, fresh off a breakout role in “Rogue One: A Star Wars Story,” is set to portray Tony Montana, the movie’s central drug kingpin. 

“Scarface” has a 2018 release in mind, while “The Batman” hasn’t announced a target date. 

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Zoe Cassavetes Said Directing Film for Ritz Paris

PUTTIN’ ON THE RITZ?: Could Zoe Cassavetes have directed a film for the Ritz relaunch?
Word has it the director of “Broken English” has shot a film involving fashion people and designers for the reopening of Paris’ mythic, five-star hotel.
A spokeswoman for the Ritz Paris had no comment.
There’s a lot of anticipation for the reopening — the hotel is officially taking reservations from March 14— billed as the biggest refurbishment in the history of the 117-year-old establishment.
Cassavetes, the daughter of  actor and filmmaker John Cassavetes and Gena Rowlands, is very much plugged to the fashion world. Her fashion credentials include being a muse of Marc Jacobs, participating in Miu Miu’s “Women’s Tales” — and being a front-row regular at fashion shows.
RELATED STORY: Chanel to Open Spa at the Ritz>>

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The Women Who Should Be Directing Superhero Movies Now

We at Obsessed have been suffering from SMOS—Superhero Movie Overload Syndrome—for several months now. It's real, and it's debilitating. Lynsey outlined the causes of the condition perfectly: There are simply too damn many of these…


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A Goodbye After 20 Years of Directing Late Show With David Letterman

In the early evening of May 20 the words “used to be” will be grafted to the end of my name. Around 5:30, I will ask CBS Technical Director Tim Kennedy to “please fade to black.” Later I will remove the few remaining personal items from my sunny office with the four windows and set out to civilian life. When my feet touch 53rd street I will take my place among “ex” ball players, “former” Congressmen and “used to be” ship captains. I will be referred to as “the former director” of Late Show with David Letterman. Along with the name change, comes the surrender of an all-access pass to New York City.

Consider the sound of six hands clapping. In March of 2012, the cast of the Broadway show Once was booked on Late Show. On the Friday before the appearance, I walked eight blocks south to the Bernard B. Jacobs Theater with a Late Show producer and my assistant. We sat in the darkened house as Cristin Milioti, Steve Kazee and the entire cast treated us to a very private performance of “Falling Slowly.” We were invited onstage where these big-time performers warmly introduced themselves and asked if “we would like to see it again?” “Ah, thank you. We’d love to see it again.”

Show business is filled with effusive strivers who realize their dream and can’t stop telling you about it. Sorry, but yes, there was a younger version of me from the north shore of Staten Island desperate for a one-way ferry ride. Manhattan scared me — it was loud, uncomfortable and uncaring, and, for reasons thousands of smarter people have tried to explain, absolutely magnetic. I had no choice. I needed to step off on the New York side and stay there.

One arctic January night, I rode the ferry again but this time I “owned” it. Late Show needed a new opening montage and I was given the resources and creative freedom to light up a boat named “The American Legion”. After crossing the harbor with the ferry’s captain, I grabbed a taxi to the West 30th street heliport where a pilot and camera crew harnessed me to the floor of a helicopter that was missing its doors. We did multiple passes across the bow of the ferry that was following a route and speed I requested. Later we buzzed the icons. I got a close look at the rivets dotting the roof of the Chrysler building and dangled my feet over the spiky crown of the Statue of Liberty. “Big deal” you say, “directors get to do that stuff all the time.” True, but on what scale and how often? I was in show business every day for 20 years or 1040 Sundays if Billy Crystal is counting. I had a blast. If things didn’t go well on Tuesday (they often didn’t), I had the rest of the week to get it right (I often didn’t.)

When my time at Late Show ends I will have directed over 3700 broadcasts, three openings and dozens of single camera shorts. I was treated to a private tour of the Empire State Building. I rode in blimps, police cars and the back seat of a taxi with Buzz Aldrin, who listened politely as I explained how to hold a pen in zero G. I had free run of Yankee Stadium and was part of a group that convinced George Steinbrenner to berate our Stage Manager, Biff Henderson. Mr. Steinbrenner turned out to be a great guy but the people around him seemed very nervous.

I put in hundreds of miles wandering the city streets with writers and camera crews in search of “found comedy”. On one of the many days when the funny refused to reveal itself, a call was put in to City Hall. Forty five minutes later, we were standing on the porch of Gracie Mansion as Rudy Giuliani lectured us about the waters of the Long Island Sound, the Harlem River and Upper New York Bay converging off his front yard to form the currents of Hell Gate. He reminded me of a know-it-all uncle.

If Joaquin Phoenix can romance an operating system, can I love a building? In 1992 I was invited to abandon my comfortable union gig in the art deco halls of NBC and travel a few blocks west to a smelly, broken down theater that saw its glory days in the 1960s. There was no guarantee of long-term employment, but there was the opportunity to help refurbish of one of the world’s most famous stages. Money blew down Broadway as the corporate might of CBS dragged a neglected ocean liner out of mothballs and made it seaworthy again. It was intoxicating. A dazzling broadcast facility was dropped into a swirl of fresh plaster, deep pile carpeting and velour seats. Everything was new; everything was possible.

I roamed the grand old building unchallenged, no one told me to leave (actually there was one time in 2003, long story). Instead stagehands and security people acknowledged me with snarky, absurd salutations that can only be traded among people who’ve shared changes of seasons and cycles of life. I’ve crawled through every accessible inch of The Ed Sullivan Theater. I’ve examined the pumping system that tames the stream running beneath the building and I’ve spied the plump rats who shared the stage with Letterman. I’ve climbed the sketchy iron ladder to the roof and stepped out a restaurant window onto the iconic marquee where Paul McCartney marked his return with a summertime street concert. I’ve pondered my good fortune in front of the René Bouché pencil drawing of Ed that hangs in the inner lobby and I’ve seen the looks of reverence from the many people I’ve taken through the place.

In October of 2002 Warren Zevon showed up for rehearsal; he was dying from mesothelioma. This was his last Late Show appearance and final public performance. He would be dead in less than a year.

Warren was a Late Show regular and covered for Paul Shaffer during the rare times Paul was unavailable. He was one of those guys you never saw coming. He didn’t enter a room — he appeared. On this day a rolling silence announced Warren’s arrival. He took in our frightened, sad faces for a few perfectly timed beats and said, “I think it’s the flu.” Later, Warren and Letterman had a compelling and surprisingly amusing conversation during which Warren shared that he may have “made a tactical error in not going to a physician for 20 years.” With the time he had left, Warren told us he intended to “enjoy every sandwich.” He performed three songs, focusing every witness to a deep look at the abyss.

Each day, Late Show started with a blank page that demanded to be filled. There were plenty of smart ideas, but we often resorted to spectacle. We broke windows, blew up pumpkins and spilled thousands of marbles from seven floors up. We hosted presidential candidates, presidents and former presidents. (There’s that “former” word again.) We re-enacted the Civil War and marched Marines under our marquee and through the aisles of the theater. We watched Philippe Petit take a wire walk 14 stories above an airbag that the city demanded, but he assured me would do nothing to save his life.

And then there are the folks, the humans who kept the assembly line moving. Late Show is populated by smart, stylish people with wicked senses of humor and impossibly fast minds. They gorge on popular culture and carry generous supplies of intuition and insight. Somehow they soldier on through jealousy, rage, dysfunction, cancelled guests, evolving technology, relentless scrutiny, tardy rock stars, fierce competition, 4 am calls, failed comedy ideas and a very demanding boss. They are clever, resilient and, at their core, among the most decent people you could ever hope to meet.

And then there’s Letterman — someone who relentlessly drove himself and the rest of us to the outer envelope of effort and clear thinking. In a random close encounter you’re likely to be charmed — what a great guy, so well-informed and so interested in what I have to say.

I grew up around funny people. Sarcasm and irony was my native language, finesse was an alien concept. Humming just beneath the surface of banter and insults was a bond allowing us to endure life’s cruelties with silliness. Funny people are strong. They counter fear and the indignities of living by surfacing the ironic, the ridiculous and the unexplainable. If tragedy is never taken seriously, then nothing can be tragic, fear is eliminated. To be in the presence of funny people is effortless and exhilarating, to be around people trying to be funny requires you to pay attention — it’s work.

.

When Dave was still at NBC hosting his 12:30 show, there were lavish Christmas parties. He’d buy out the Rockefeller Center Skating Rink and staff and crew would eat, drink and skate together. It was magical. Imagine sliding around on that famous ice minus the crowds, while envious tourists studied us from the plaza above.

As the evening wore on, small support clusters gathered to strategize about the best moment to approach Dave. We all wanted a little face time to register gratitude and maybe say something clever. People agonized over when to make the move and what to say. It was like lining up to visit Santa Claus, except Santa was a moving target, easily irritated and there would be no sitting on his lap.

It didn’t feel right to bother him while he was skating; you weren’t going to interrupt him while he was eating and there was never an easy way to join a conversation he was having with someone else. I was new to this world and couldn’t reconcile the degree of angst hovering over the room. Smart people were struggling to measure the conditions of saying “thank you” to their boss at the company Christmas party. It seemed way too difficult but, like everyone else, I was thrilled to be included and desperately wanted to be invited to the next party and beyond.

As I silently raged against my diffidence and fear of celebrities, I was steadily reminded by more experienced partygoers that “you have to go up there.” Time was running short. When I spied a gap around his table, I jumped. It was like stepping off the wing of a shrieking airplane. Beyond the pressure of coming up with something smart to say was the added burden of being evaluated by a gaggle of eavesdroppers who would overhear my remarks and report to the rest of the party. There would be judgment.

Before I was frightened off by the intense, narrow eyes that screamed “Oh God, here’s another one,” I stuck out my arm and said “Well Dave, it’s time for the annual hand shake.” I was sure that lampooning the absurdity of it all was something he’d appreciate. Turns out I was very wrong. Professional funny people don’t like wise guys. My stab at neighborhood humor was met with soul-searing silence. “Thanks for everything,” I stammered as he reflexively gripped my hand. “No Jerry, thank you,” came the kind-of-loud reply. I slithered away reduced. I spent two agonizing hours trying to get it right and he dropped me with four words and a scowl. I wanted to stick my head in a bucket.

Spread over 25 years my Letterman encounters, occasionally direct sometimes by proxy, were dominated by similar miscues, garbled intentions and remorse. I never seemed to say the right thing, but the stakes got higher — I was the director, perfectly positioned to screw things up and I often did. Despite an earnest desire to please, I never left work thinking I got it right.

Among Dave’s many gifts is the uncanny ability to turn the simplest task into something unwieldy. Watch him dial a phone or attempt a tweet. He’s also someone who can stare down the barrel of a single camera and distill the most complex human frailties with sideways insights that are hysterical and ultimately reassuring. The maddening part is the impossibility of predicting which version you’re going to get.

Long before Paris Hilton, the obnoxious Housewives or the family Kardashian was Dave, antagonizing Bryant Gumbel with a bull horn or taunting General Electric’s upper management with a gift basket. Dave pioneered reality television. If he was happy, you knew it and there was no escaping the times he was pissed. Search the night he announced the birth of his son or the time someone accused him of being a “non-voting Republican.”

Brilliant writers showered him with scripts, concepts and set ups. Most pitches were rejected and the rare ones to make it through were drastically altered. Even the best ideas were a threat to his effort to spill his thoughts out in real time. The memorable nights were when he was on a rant or a roll and the vitriol or joy flowed fresh from his uniquely wired brain. While he filleted himself in pursuit of perfection, David Letterman harbored a deep disdain for anything suggesting rehearsal. The observations, the comedy, the biting conclusions had to be conjured in the moment. This was not a teleprompter guy, if it was being read, it wasn’t a conversation, and if it wasn’t a conversation you’re not a broadcaster.

Dave is painfully self-aware. He lives in a state of perpetual examination and is incredulous that others don’t make the same effort. If they did, the world wouldn’t be populated by so many fools. He is easily the fastest knife in any fight and lights, microphones, cameras and direction only interfered. He was impossible to please, and if you stumbled into doing something right, he was convinced it would lessen your next effort. Was it simply some noble, Midwestern work ethic? I may never know.

Dave possessed a fierce drive to honor his opportunity. He threw everything he had at the show and left nothing on the table. Defying an earlier generation of generic NBC executives, David Letterman did become the uncontested heir to Johnny Carson. He walks off with his dream fully realized. He also gave me and many others a shot at their own professional dreams. The entertainment business is deep with people who passed through Dave’s world and have gone on to considerable success.

Now it’s time to hand the keys to a new owner. One day you’re a big shot with fat budgets and vast resources and the next day you’re not. Like the high school we leave behind or the vacated summer rental, someone kind of like you will occupy the space that was once yours and create memories of their own.

When Warren Zevon was leaving the theater that early autumn evening the impossible silence returned. The stage was dim and the theater’s ghost light was in place. As Warren gingerly lowered himself into the backseat of a town car, Stagehand Kenny Sheehan attempted a goodbye — “We’ll see you around, Warren.” A weary grin came to Warren’s face as he reached for the door. “Yea, I’ll see you somewhere.”

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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Ava DuVernay’s 2 Goals for Directing | Oprah Prime | OWN

When director Ava DuVernay decided to direct Selma, the story of the civil rights marches that changed America, she had two charges at hand: To humanize Dr. Martin Luther King Jr. and make a civil rights film that felt interesting. “History is beautiful when it’s taught in a vibrant way and you learn it and can take it in and you contextualize it for yourself,” she says. “But so often cinema treats history … kind of like medicine.” Watch as Ava opens up about her approach to the film.

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Directing Brad Pitt In A Sex Scene ‘Wasn’t That Hard’ For Angelina Jolie

Angelina Jolie just finished directing her third movie (after “In the Land of Blood and Honey” and the forthcoming “Unbroken”). Titled “By the Sea,” it’s a romantic drama starring her and Brad Pitt as a couple making last-ditch efforts to save their marriage. (Life doesn’t always imitate art, right?)

The last time Jolie and Pitt shared the screen was 2005’s “Mr. and Mrs. Smith,” where their romance first bloomed. Now, nine years into their own relationship, Jolie is tasked with directing her real-life hubby in a sex scene.

“I was the other person in the love scene, so it wasn’t that hard,” she told MTV News in a new interview with Josh Horowitz. “And he knows what I need. He’s always known.”

Well, well, well! “By the Sea” has wrapped, so it seems we can rest easy knowing the movie’s plot hasn’t spilled over to real life. Jolie knows people will compare the film to her actual relationship, but she’s prepared.

“Yes, we spent our honeymoon playing two people in a terrible marriage,” Jolie told The Hollywood Reporter. “I’m sure a therapist would have a field day analyzing the films I choose to do. But it’s been 10 years since Brad and I have worked together. It felt like it was time.”

Watch Jolie discuss the film:

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Girls Actress Shiri Appleby Talks Balancing Motherhood, Directing and Roswell

shiri appleby

Shiri Appleby has been very busy lately. On top of appearing in HBO’s Girls as Adam’s Girlfriend, Natalia, Appleby is also in the midst of filming a pilot for Lifetime (Unreal), and directing a one act play in Los Angeles.

Appleby says about directing:

I’ve been acting since I was a child so to move the pieces around and watch a piece evolve from the outside has given me a ton of perspective and insight into the process, as well as clarity about the role of the actor in any given situation.

When she’s not working, she is balancing it all with being a parent to her daughter, Natalie.

“When I am not working, I spend all my time with my daughter and when I am working I try to let myself have the space to be an individual.” Appleby says, explaining how she keeps a healthy balance between work life and motherhood.

…I tell myself that if I’m not with her, I might as well make the most of the time and do my very best. Being a woman who is trying to parent, be in a relationship and manage a career is still a work in progress, but it’s working for me at the current time, and I am enjoying it more than I ever thought possible — quite frankly, I’ve never been so fulfilled.

She is most commonly recognized today from her role on the hit HBO series Girls, which is premiering its third season on Sunday, January 12th. Appleby, who had a great time working on the set, will be making an appearance this season. When asked what her favorite part about working on Girls was, she replied,

My favorite part about being on the set of Girls was how much conversation and care went into each moment that ends up on screen. Lena (Dunham) and Jenni Konner have created a truly creative environment, which is why I think they are able to produce television that is so daring, fresh and real. I feel lucky to have been cast in that show in that they gave me the opportunity to show myself, the audience and the industry that I am capable of going dark, of portraying awkward, uncomfortable moments in life. As an actor, whatever type of role you become known for is usually what people want you to do again, which can stagnate your creativity. It takes being cast by important filmmakers in varying roles to explore the diversity of your talent. I was surprised by how much I enjoyed getting down and dirty and crawling out of the box I had been in professionally for so long, and yes, Natalia makes an appearance in season 3.

In addition to enjoying her time on set, she noticed there was a difference between working on Network Television and working on an HBO series.

It is as basic as what footage the directors have to shoot. On network television, most directors wouldn’t be as risky as to not properly cover each scene with the standard master, two shoot, singles and tight close-ups. Maybe they would add a steady shot, and one fancy move to get in, or out of the scene but other than that, they shoot what is expected of them, word for word, because network television pays significant money and they want to be asked back to the party — and quite frankly, I don’t blame them. While I was shooting Girls, one scene as scripted wasn’t working, and Lena and Jenni had the creative freedom to completely improv the scene without a bunch of phone calls or complete chaos on set. It is invaluable that the creator and executive producer is directing/writing/starring in each episode of their show. Usually on network television, the creator and/or executive producer is in his/her office — which could be in another state or country — breaking stories, dealing with politics and keeping the machine moving so they rarely appear on set. I believe most of the scripts for the Girls season are broken, arched out and partially written before they start shooting, so everyone who is making the show can be an active participant in how the show gets made…

Even after being an established actress (having been on hit shows like ER and Chicago Fire and recently staring as the lead character in the Lifetime movie Kristin’s Christmas Past, Appleby is still hoping to reach an important goal.

“In film, my dream scenario would be to have Nicole Holofcener as a director.”

Holofcener has directed both a few episodes of the hit HBO show’s Sex Feet Under and Sex And The City.

“She has a wonderful style that is so simple and clean, and each one of her films so beautifully expresses the plight of a woman. I would do everything possible to be in her next film — she’s it for me!”

Appleby (36) is still recognized today from her portrayal of Liz Parker from the hit show Roswell. The show aired from 1999 to 2002 and had a huge cult following. Fans of the WB show even sent in bottles of Tabasco sauce to help persuade the station from cancelling the show when it wasn’t doing well. Fans of Roswell will be happy to hear that she still runs into the other actors from time to time.

“I ran into Majandra (Delfino, who played Maria) the other day. Colin (Hanks, who played Alex) and I run in a similar circle, so I see him from time to time. It was so many years ago and I am so proud of what each of them has done with their careers and lives.”

Even more importantly, she would be up for doing a Roswell movie.

I would LOVE the idea of doing a Roswell movie. The idea has been mentioned from fans for years. When the Veronica Mars Kickstarter campaign happened last year, I looked into what it would take for Roswell movie to happen, and what I found out is that there are a lot of bigger players than me that would need to get interested to make something like that happen. I wouldn’t say it’s impossible but…

As a huge fan of Roswell myself, this is music to my ears. So just one question. Who should we start sending the Tabasco sauce to?
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