HOLLYWOOD REPORTER – Warner Bros., the studio behind the tentpole, has moved the movie to Easter 2018.
Ready Player One, Steven Spielberg’s adaptation of the Ernie Cline sci-fi novel, has backed away from Star Wars: Episode VIII.
Warner Bros., the studio behind the tentpole, has moved the movie from Dec. 15, 2017, to March 30, 2018.
Earlier this month, Disney moved Star Wars from Memorial Day weekend in 2017 to Dec. 15 of that year, pitting the box-office franchise behemoth against what is expected to be a grand Spielberg sci-fi extravaganza.
The pic is set in a virtual world called Oasis, in which a teenager finds himself competing in a treasure hunt against ruthless foes after the game’s founder dies and offers his fortune as the grand prize.
Olivia Cooke and Ben Mendelsohn have so far been cast in the movie.
Ready Player One will now open on Easter weekend, with the studio planting the film after the Winter Olympics in South Korea and before the commencement of the World Cup in Russia.
Check out the new Bates Motel Season 4 teaser premiering March 7th 9/8c
VARIETY – Mother will have more trouble on her hands come March 7, when “Bates Motel” returns for its fourth season.
A&E Network announced the premiere date of the critically acclaimed drama, from writers and executive producers Kerry Ehrin (“Friday Night Lights,” “Parenthood”) and Carlton Cuse (“Lost, “The Strain”) starring Vera Farmiga (Norma Bates) and Freddie Highmore (Norman Bates), at the Television Critics Assn. press tour Wednesday.
This ten-episode season of “Bates Motel” promises to showcase Norman’s continued descent into madness, as Norma becomes increasingly fearful, going to great lengths to find her son the professional help he needs. This further complicates their once unbreakable trust, while Norman struggles to maintain his grip on reality. Sheriff Romero (Nestor Carbonell) once again finds himself drawn back into Norma and Norman’s lives.
“Bates Motel” has fallen off since its hot start in 2013, down about 20% during season three. Still, it finished as the calendar year’s No. 7-rated basic cable drama in adults 18-49 (1.5 rating) while averaging 3.3 million total viewers, according to Nielsen’s “live plus-7” averages.
Best Supporting Actor, Female
Alicia Vikander, THE DANISH GIRL
Jennifer Jason Leigh, THE HATEFUL EIGHT
Helen Mirren, TRUMBO
Kristen Stewart, CLOUDS OF SILS MARIA
Olivia Cooke, ME AND EARL AND THE DYING GIRL
Congrats Olivia for your nomination!
VMAGAZINE.COM – Twenty-year-old Olivia Cooke has just been cast in Steven Spielberg’s next film, Ready Player One, despite “self-sabotaging” her audition. “He’s really lovely,” the Mancunian gushes, clearly relieved. Filming won’t start for quite some time, but the announcement is placed prominently on her IMDb page, which the very private Cooke finds odd. She “can’t be bothered” with Twitter or Instagram, she says. “The thing with social media these days is you can’t really say what you want. It’s always going to be judged or backfire. I don’t want to be a spokeswoman unless I’ve really got something worthwhile and important to say. Otherwise, it’s just pictures of, I don’t know, fucking lakes and beaches. It’s like a mum showing pictures of her child.”
Technically, and sort of ironically, her breakout role was a nonspeaking part. In a video, filmed to be played behind a One Direction tour, Cooke can be seen gallivanting in a field with the boy band. “That was just half a day of my life when I was 17,” she sighs. “It was 250 quid. They’d only just come out of The X-Factor so they weren’t even known at all. It’s a bit embarrassing that that was, like, the start of my career.”
Next came “screaming at nothing, CGI-ed ghosts” and suffering on-screen illnesses in an array of American and British accents (but never her own rounded northern intonation). She gasps and cries in The Quiet Ones, Blackout, The Signal, Ouija, the forthcoming Limehouse Golem, and in an ongoing role in the TV prequel to the horror film of all horror films, Bates Motel. Here, Cooke’s character is not only dangerously close to the young Norman Bates, slowly discovering his psychotic tendencies, but she often needs a respirator for shortness of breath due to cystic fibrosis.
Arguably, Cooke’s real breakout wasn’t until this year, when she played Rachel, a teen with leukemia, in Me and Earl and the Dying Girl, based on the popular Jesse Andrews novel. The screenplay, also written by Andrews, intentionally waffles between sentimentality and distraction through its referencing of classic independent film. The clever format is telling of its characters’ hyper-researched generation and also of the way anyone, young or old, handles tragic loss. Devoted to the role, Cooke opted to shave her head halfway through filming instead of wearing a skullcap for when her character undergoes chemotherapy. (The studio promised to pay for the $10,000 wig she’d need for continuity in Bates Motel, Cooke confides.) Authenticity has no price. “[Rachel]’s a totally real-life character,” says Cooke. “You don’t want her to just be another Manic Pixie Dream Girl that just comes in and changes this guy’s life and then edges away slowly, saying all these really profound things in her last moments of life. She’s human, completely human.”
For her starring role in the forthcoming Katie Says Goodbye, the freedom that came from what she calls “bare-bones drama” (meaning no horror or illness to muddy a character’s emotional distress) completely changed Cooke’s way of thinking. Katie, a small-town Arizona diner waitress, prostitutes herself after hours.
“She wouldn’t call herself a prostitute, though,” Cooke corrects. “Sex isn’t a taboo subject for her. She sees this as a simple transaction—she makes these guys happy and she gets paid for it. I don’t want to go on the bandwagon of how women are perceived in films, but it was so freeing for me to be liberated of any inhibitions, any embarrassment.”
Without having seen a cut of the film, she’s ready to defend its depiction of sexuality, if only for the sake of variety. “You never really see a woman being pleasured in film,” she says. “You see a woman getting raped or beaten, or seen as the jailbait, or she’s the old hag, but you’ll never see a woman in control of all of her sex. It’s a weird thing in America when you’ll see someone’s head being blown off more than you’ll see someone having a loving, intimate sex scene—which actually happens all the time. Rarely does someone’s head get blown off.”