Dune : Oscar Isaac could join Timothée Chalamet for the reboot of Denis Villeneuve

The proposed reboot of “Dune” advance at Legendary Pictures. The film is currently seeking distribution, and the biggest names in Hollywood are being courted by the team of filmmaker Denis Villeneuve. Universal Pictures It is the turn of the star of the new trilogy, Star Wars Oscar Isaac to be approached by the team of the new Dune, according to the site Variety . It would currently be in negotiations to play the role of Leto Atreides, father of Paul Atreides, who will be played by Timothée Chalamet. Rebecca Ferguson, Stellan Skarsgard and Charlotte Rampling are already officially boarded this new adventure intergalactic. Even today, a single film adaptation of the novel of Frank Herbert has seen the light of day : the first to disregard by her film director David Lynch in 1984, led by Kyle MacLachlan, Sean Young, Max Von Sydow and Sting. The director cult Alejandro Jodorowsky had yet embarked on a crazy project in the 1970s to adapt the science fiction novel, but finally had to give up. The story of its production-disaster is told in the documentary Jodorowsky”s Dune. Dune : Timothée Chalamet in negotiations to join the project of Denis Villeneuve In 2016, Legendary Pictures buys the film and tv rights to the franchise and entrusts the attainment of a reboot to Denis Villeneuve, the director of First Contact and Blade Runner 2049. The quebec filmmaker will sign the screenplay with Eric Roth (A Star Is Born) and Jon Spaihts (Prometheus). Dune tells the story of the family Atreides, the reigning masters on the planet Dune, the main source of a spice which is the most valuable resource of the galaxy. After a betrayal, the family Atreides is wiped out with the exception of the youngest son, Paul, decided to take his revenge and to regain control of the Spice. Find Dune in our Top 5 rock stars unexpected at the cinema Top 5 Emissions Bonus

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Afcae faced by the Coen brothers and Alfonso Cuarón on the dissemination of the works on Netflix

François Aymé, president of the Afcae (French Association of Art house cinemas) published in the editorial of the Mail Art & testing January 2019 a forum to the address of the filmmakers who chose to distribute their works on Netflix. In January 2019, François Aymé, chair of the AFCE, the French Association of Art house cinemas, published a tribune in the editorial of the Mail Art & Essay to the address of the filmmakers who have chosen to disseminate their works on Netflix. In this case, the Coen brothers, with their Ballad of Buster Scruggs, and Alfonso Cuaron, who comes to triumph at the Oscars on this night, winning three statuettes for its Roma, including best director. The forum may be prior to the Oscars, it probably makes even more sense today, at a time when Netflix sees its productions multi Award-winning prestigious, and also at a time when the talent in hollywood to the forefront as Steven Spielberg urging his colleagues not to release the films to be coming out in theatres for the benefit of the platforms of streaming, as we have relayed this weekend. Here is the forum in question, below. Dear Joel, dear Ethan, dear Alfonso,

Blood Simple, Fargo, O Brother, No Country for Old Men, True Grit and many others for Ethan and Joel ; The Son of man and Gravity for Alfonso… We have seen all your movies. We’ve expected. Looking forward as our audience. A true rendezvous with authors that we have loved, admired, exhibited, and promoted. We have seen and programmed all your movies. All except the last : Roma for Alfonso Cuarón and…, what is the title already, ah yes, The ballad of Buster Scruggs for Ethan and Joel Coen.

That has happened for this long relationship of confidence and enhancement of your works on the big screen, in front of an audience of aficionados, stops, like this, suddenly ?

Times are changing, that’s all, ” you reply, in substance, multiple interviews. Yes but the question is, in what sense and why ? For the sake of the presenters ? Authors ? The public ? Of the works themselves ?

“You have to adapt to the evolutions of the public,” says Joel. Here, we touch the finger of one of these forms of rhetoric of the sophists that would not have repudiated some of your characters. Because finally, yesterday, each of your movies could be seen in the choice and then on the big screen in a room, on VOD, DVD, etc., on a small screen, a computer or a mobile phone, over a channel encrypted or not, or even on a platform. The public had, therefore, the choice of location, media, format, the choice to be a subscriber or not to be. He needed only to wait for access to the windows from time to time. Alfonso, you rejoice with Netflix, your parent mexican can see Roma even if it has no rooms near it. But this was already the case for your other movies by VOD, or simply through the television !

With Netflix (we come), it is not you that you adapt to the public but the opposite : the public must adapt to the choices you have made : to entrust the exclusive sustainable of your final work to a platform. The choice that you leave in your audience, it is : either you subscribe to Netflix, and you can find our film on a small screen, or you can’t see it. This is not a choice, it is an obligation, in any case for your fans. And this obligation is not temporary, on the contrary, it is sustainable, what little writing in black and white. This is called the privatization of a work.

The times are changing and the public (like the authors ?) must adapt to the business strategies of the new broadcasters worldwide. But if we cast a retrospective glance to the history of cinema, one will find that all the evolutions, adaptations, mutations of the film are made in the sense of concrete progress, technical, objective : transition to talkies, to the color, cinemascope, Dolby, comfortable rooms… each time, it has acted to improve the quality of the cinema show, and the valuation of the works, even when the distribution is shifted from the this work was broken down over the years on other media. When you look at your generic that lasts for long minutes, one is impressed by the number of actors, technicians who have done everything to give the light, the framing, the sets, the costumes, the sound, the editing, the mixing, calibration extreme care.

In this light, the choice of the diffusion exclusive and sustainable one movie ambition film on a platform, pay-is not a progress but a regression. In making this choice, you assume a double renunciation. You renounce the value and technique of your work on a big screen and through a chain of sound that render the subtleties, the nuances of your work. And you waive, to the collective dimension of the discovery of your work. You hereby waive to the fact that your film is a public spectacle. This is not nothing all the same. Of course, today the viewing of the cinematographic work is done very largely on a medium other than the big screen, is this a valid reason to dispense with it completely ? Is it a composer, a musician, a singer would not be at the concerts on the pretext that most of the people listening to his works on YouTube or on a dedicated platform.

The real reason for the passing of your film exclusively on Netflix, it is the commercial, financial. The challenge is not knowing who will look at your film and in what conditions but how it will be funded and how much it will earn (advertising and subscriptions). Netflix is a global company which has well understood that it must offer first-run movies to go to seek more and more subscribers. He had the image and name. Exclusivity and prestige. The Coen and the Golden Lion, and why not at the Oscars. Lacquer art, a global advertising, this is what you bring to Netflix, the rest is secondary. Besides, you’ll have noticed that unlike the film from Susanne Bier (45 millions of viewers around the world ! depending on the platform), Netflix does not communicate on the number of “spectators” in the audiences of your films. How many subscribers have looked at the Lion d’or, a beautiful mexican film in black and white without any well-known player ?

But yet, shouldn’t we rejoice that a new operator powerful to invest in works of quality. Yes, but to a number of conditions, conditions that many producers and broadcasters meet (especially in France), which is not necessarily the case for Netflix. Then a few simple questions to complete. Is it that having bought a mexican film in black and white is the sign of a proactive strategy of defense, of diversity that goes beyond only the productions of the anglo-saxon ? Is it that Netflix (and other) plans to comply with the taxation rules of the countries where it disseminated, thus contributing to the common life of a territory which it derives a profit ? Is it that Netflix is likely to produce or purchase films critical of Iran, China, Russia, Brazil, saudi Arabia, Turkey ? If Netflix shows a real willingness to finance the films of the great authors, will there be the same motivation to follow a new talent ? Will continue t-he same to finance these great talents if it reaches its goals of subscriber ? Is that really the contribution of Netflix to the production and/or dissemination was essential to your film or is it a deliberate choice and assumed on your part ?

In any case, if you are “only” of the filmmakers, without a doubt, is it good (for the public, the media, elected officials) to remember that the development of an operator to the surface world, including the number of subscribers is now in the hundreds of millions, is anything but neutral. So, take your film to Netflix, it is not only forgo the opportunity to see your securities in the rooms collectively, but also provide your name and, therefore, guarantee a powerful service provider that knows how to take advantage of a system and do not comply when this is contrary to its interests. How to play with someone who changes the rules of the game to their own benefit ? Trying to enforce the rules, or by joining his camp ? To each his response.

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Jai Courtney explains (a little) his return in Suicide Squad

Australian actor Jai Courtney confirmed last week that he would return in the new installment “Suicide Squad”, that should soon realize James Gunn. The actor says this time a (little) bit more… Warner Bros. Last week, the australian actor Jai Courtney confirmed that he would return in the guise of Captain Boomerang in the new version of Suicide Squad as prepared by James Gunn, who must moreover be considered a reboot and not a sequel. “I felt a little weird the other day when I balanced the info because it was rather funny and that I couldn’t remember if I had to talk about it or not,” says the actor in a recent interview with the website Collider ; “because for a very long time, I didn’t know if I’ll be back or not. But I got the script and it is awesome. It has surprised me from start to finish.” Courtney is careful, of course, reveal anything. If this is some confidences on the way in which this new opus has been created. “I don’t think anyone really knows what is happening, and everything that you can read it online will not help you to clarify anything. And nothing that I say today will not be either. The people who have read the screenplay and the team of James Gunn know very well what it returns. Even if I think there’s still room to make some changes. I don’t want to take responsibility to swing anything and I have no idea how people will receive what we’re going to reveal.” As a reminder, this Suicide Squad 2.0 will enter filming at the end of this year, to an output already scheduled in 2021.

After Wife me my friend, Tarek Boudali is preparing a police comedy [EXCLUDED]

Tarek Boudali is preparing a police comedy for which he will be surrounded, as always, Philippe Lacheau, Elodie Fontan and Julien Arruti. It will be the next project of the band to Fifi… pending a possible result of “Nicky Larson”. Axel Films Production New project in order for the band to Fifi (Philippe Lacheau, Tarek Boudali, Elodie Fontan and Julien Arruti) ! Tarek Boudali told us to write currently working on his second feature film after Wife me my friend. If the film’s title and the synopsis are for now kept secret, we know that there will be a police comedy, which has its starting point in the suburbs. The plot takes place primarily in Paris, and a small party in Las Vegas. Tarek Boudali will take the lead role of a cop “broken arm”, and is to avail himself of Philippe Lacheau, Elodie Fontan and Julien Arruti, also in roles of police officers. Tarek Boudali co-wrote the screenplay with Pierre Dudan (also co-writer of Nicky Larson and Wife me my friend) and Grégory Boutboul (co-writer of the Friends of the public). The shooting should start at the end of the summer 2019. This police comedy, will be produced by Axel Films, a company producing Nicky Larson and the films of the band to Lacheau since its inception. For the record, Marry me my friend had been the 5th biggest French success of 2017, with nearly 2.5 million admissions recorded. And a suite of Nicky Larson… if the public is the appointment of the first movie In the meantime, Tarek Boudali be displayed, on February 6, next, Nicky Larson and scent of Eros. Is there already talk of a sequel for Nicky Larson ? The answer is yes, but… If the team already has plenty of ideas and desires, this sequel see the light of day only if the success is at the rendezvous for the first game. #NickyLarsonLeFilm : the band of Philippe Lacheau she thinks already to a suite ? “If people hang on, this will be a great pleasure. It is up to the public to decide” @PhilippeLacheau #NickyLarson fate on February 6, 2019 @SonyPicturesFr @Elodie_Fontan @TarekBoudali @JulienArruti pic.twitter.com/bX9CkFtNPS — AlloCiné (@allocine) January 21, 2019 “has a lot of ideas because the original work is very rich, has entrusted us with Philippe Lacheau in an interview at the Festival of comedy of Alpe d’huez. It was full of things that we’d like to do. But it does not put too seriously because it is the public who will decide.” And to add : “Because this film is a real bet. There has not been a lot of adaptations of manga in France, it is a comedy with a lot of action, romance… A thing a bit of a hybrid. So if people cling to and say, ‘ah this is cool, we would love to see other’, we will be with great pleasure that we will. So it’s really up to the public to decide.” “We took so much fun making the movie, and me the role of Laura, which was a gift,” adds Elodie Fontan. I took a crazy fun, and I never thought of myself as broken a character as this one. If you have the chance to do a two, I don’t even look at the scenario, I sign direct. We dreamed of doing a sequel, really. But actually, it will depend on the public.” Our meeting quiz comedy with the team of Nicky Larson in Alpe d’huez :

NCIS season 16 : David McCallum (Ducky) on the departure ?

Another historical figure could well leave the series. In the episode aired this week in the United States, Ducky reveals to Gibbs its future projects. Monty Brinton/CBS Already 16 years that NCIS runs of happy days and the joy of its broadcasters (CBS in the United States ; M6 in France). A longevity not yet outstanding but a vitality that is almost intact which commands respect. It is always difficult to explain why or how, but in a series like this, characters are an important part of the general endurance.

Only over time, even the most hardened eventually throw in the towel. And in the episode aired this week in the United States (16×16 : Bears & Cubs, it is the turn of Donald “Ducky” Mallard (David McCallum) to announce his future applies not only to the forensic medicine of the Naval Criminal Investigative Service (NCIS ). A choice a bit obvious given that his appearances were already well depleted during the season. A retirement logic so after years of good and loyal services, and that allows to formalize the handing over of power generation with Palmer (Brian Dietzen).

Of course, the reaction of the fans was not made to wait and some·e·s cry already the disappearance of the character with the strong capital sympathy. However, David McCallum stated that it did not be ready to completely say goodbye to his character and doesn’t rule out making appearances in the future in the case of a renewal (like this year). Season 17 has not yet been commissioned by CBS.

Ziva (Cote De Pablo), Tony (Michael Weatherly), Abby (Pauley Perrette) and Ducky, there no longer remains as Gibbs (Mark Harmon) and McGee (Sean Murray) as members of historical. Who will be next ? See the slide show slide show Pauley Perrette, Michael Weatherly… Those actors who have left NCIS 10 photos