Billie Eilish With ‘Weather Map’ Hair Has Inspired Hilarious Reactions, But It’s Not What It Seems- Armessa Movie News

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The Barbie movie’s Billie Eilish has been no stranger to bottles of hair dye over the years, donning just about every hair color in the book, from blue in her early days to going blonde for a sweet reason for her sophomore album, Happier Than Ever. In recent months, Eilish has been rocking black hair with bright red peaking at the top. Her latest look has just inspired a viral moment for the singer, but it’s not what it seems. 

Amidst 2023 celebrity Halloween costumes popping up online, including Billie Eilish’s own cowgirl costume, another image of the singer started gaining popularity on the internet. Let’s talk about it. 

The Internet Is Having A Field Day With Billie Eilish’s ‘Hurricane’ Hair 



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Impossible – Dead Reckoning’ Inspired Biden’s AI Security – IndieWire – Armessa Movie News

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Tom Cruise has saved cinema, and now, maybe the United States?

Cruise’s “Mission: Impossible – Dead Reckoning Part One” franchise installment allegedly inspired President Joe Biden to issue an executive order for new security measures involving artificial intelligence.

Deputy White House chief of staff Bruce Reed told the Associated Press that the president became more concerned over AI threats after watching the film, directed by Christopher McQuarrie.

“If he hadn’t already been concerned about what could go wrong with AI before that movie, he saw plenty more to worry about,” Reed said.

“Mission: Impossible – Dead Reckoning Part One” follows Cruise’s Ethan Hunt as he battles the Entity, a sentient AI program that infiltrates every possible security program on an international scale.

Both Reed and Biden watched the movie at Camp David. Reed noted that, additionally, Biden was “impressed and alarmed” after seeing “fake AI images of himself” and discovering the “terrifying technology of voice cloning.”

Martin Scorsese, Timothée Chalamet

“Biden was profoundly curious about the technology in the months of meetings that led up to drafting the order,” Reed said, adding that the president met with scientists that explained the possible uses of AI.

The executive order will direct “the most sweeping actions ever taken to protect Americans from the potential risks of AI systems,” including developing standards, tools, and tests to ensure safety in AI systems and requiring AI developers to share their safety test results and other information with the U.S. government. The order also directs guidance for “content authentication and watermarking to clearly label AI-generated content” to protect against fraud via AI.

The uses of AI are currently part of the ongoing SAG-AFTRA strike negotiations with the AMPTP, as well as being a key issue in the now-resolved WGA strike. Directors Christopher Nolan and Nicolas Winding Refn have spoken out about the use of ChatGPT and other AI tools in the landscape of filmmaking.

Refn exclusively told IndieWire that ChatGPT will “shut down” any content deemed “controversial or themes that are not acceptable anymore.”

“So for me, it’s almost like if your work is approved by a chat, that’s a great alert system to rewrite,” Refn said. “It was very interesting trying it because I thought I was going to use it creatively, but I really ran into always disagreeing with it. So I just stopped using it, and that was that.”

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Diddy Releases Trailer For ‘Off The Grid’ Movie Inspired by ‘Love’ LP – Billboard – Armessa Music News

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After releasing his new album, The Love Album: Off The Grid, last month, Diddy is upping the ante with his forthcoming film, Off The Grid

The first trailer for the film — powered by the sonics off The Love Album — dropped on Monday morning (Oct. 30) and features Diddy and budding actress Eva Apio in a romantic whirlwind anchored by passion and drama. The chemistry between the two is entrancing as they share moments of vulnerability, endure a high-speed car chase with the cops, and more. 

“Working with Eva Apio was an incredible experience. Her talent and energy brought my vision to life,” Diddy said in a press release. 

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The Love Album: Off The Grid features appearances by Justin Bieber, Abel Tesfaye (formerly known as The Weeknd), Mary J. Blige, Summer Walker, H.E.R., Jazmine Sullivan, and more. Touted as Diddy’s comeback effort, The Love Album became his sixth top 10 project on Top R&B/Hip-Hop Albums last month and debuted at No. 19 on the Billboard 200. It also peaked at No. 2 on the Top R&B Albums chart. 

“This isn’t just an R&B album; it’s an R&B movie [about love],” he said of his project during his cover story conversation with Billboard last month. “It’s probably one of the biggest collections of talent ever, all unified on one album. And I happen to be blessed to have The Weeknd’s last feature. The song talks about being unique, in a sense — telling your ex-girl that another one of me won’t come around.”

The Off The Grid film has yet to have a release date but will hit theaters soon. Watch the trailer below. 

OFF THE GRID - The Movie Inspired By The Love Album

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One Fall Of The House Of Usher Family Member Was Inspired By Pixar Character – Armessa Movie News

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Summary

  • Kate Siegel reveals that her character, Camille L’Espanaye in The Fall of the House of Usher, was based on Mirage from Pixar’s The Incredibles.
  • Camille is also influenced by Edgar Allan Poe’s character of the same name from his short story “The Murders in the Rue Morgue”.
  • The inspiration for Camille’s character adds depth and intrigue to the show, similar to the numerous Easter eggs hidden throughout the series.


The Fall of the House of Usher star Kate Siegel has revealed the unlikely source of inspiration behind her character Camille L’Espanaye. Loosely based on the assorted works of 19th-century poet and author Edgar Allan Poe, Mike Flanagan’s final Netflix show charted the graphic and fatal downfall of the powerful Usher family headed by patriarch Roderick Usher (played by Bruce Greenwood and Zach Gilford) and his twin sister Madeline (Mary McDonnell and Willa Fitzgerald). Siegel, herself a frequent collaborator with Flanagan, assumed the role of Roderick’s illegitimate daughter Camille, best known for serving as the head of public relations for the Fortunato corporation.

In a video clip shared to Twitter by Mike Flanagan Source, Siegel admits that her character was based on the duplicitous character Mirage from Pixar’s The Incredibles. Initially suggesting that when she was a young girl she thought Mirage “was the most beautiful woman I could imagine”, she went on to jokingly admit that once audiences see the resemblance between the two characters, it can’t be unseen. Check out the clip and her comments below:

Camille is entirely based on a character named Mirage from The Incredibles. When I was a little girl, she was like my Jessica Rabbit. Like I thought she was the most beautiful woman I could imagine. She is the one that tricks Mr. Incredible into coming and being kidnapped. Once you’ve seen it, you can’t unsee it. So sorry to spoil all of your childhood dreams, but Camille is just Mirage.

However, some eager fans were quick to do the math and realized that Siegel would have been 22 years old when The Incredibles was first released in 2004, later prompting the actor to self-correct and express her embarrassment.


The Original Basis of Siegel’s Camille L’Espanaye Explained

While Siegel is quick to credit the animated femme fatale who served as the assistant to Syndrome in The Incredibles for her character’s basis, creator Flanagan also mined the depths of Edgar Allan Poe’s massive catalog of written works to help give the Usher character form. Where Siegel’s Camille may owe her own trademark silver hair and cool demeanor to Mirage, the original character itself is drawn from Poe’s 1841 short story The Murders in the Rue Morgue.

Widely regarded as the first modern detective story, and the basis for later great fictional sleuths such as Arthur Conan Doyle’s Sherlock Holmes, Murders in the Rue Morgue introduces readers to Poe’s own brilliant investigator, C. Auguste Dupin, the same name given to the Assistant United States Attorney played by Carl Lumbly and Malcolm Goodwin. Camille, however, is the name of a young girl who is found murdered along with her mother under unusual circumstances.

Much like how Flanagan used Poe’s original title to inspire the nickname for the Fortunato research facility where Camille meets her fate, so too did he borrow his unlikely culprit. After deciphering the clues left at the scene of the murders, Poe’s version of Dupin deduces the killings were committed by an orangutan that was captured in Borneo and was brought to Paris to be sold. With this origin in mind, Siegel’s own unlikely choice of inspiration seems even more bizarre, however much like many other Easter eggs hidden throughout The Fall of the House of Usher, her revelation adds even more depth to an already intriguing show.

Source: Mike Flanagan Source and Kate Siegel/Twitter



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Eric Ravilious: Drawn to War – Documentary Trailer – One of Britain’s greatest landscape artists, Eric Ravilious, was killed in a plane crash in 1942. His life was as compelling and enigmatic as his art, set against the dramatic wartime locations that inspired him.- Playlists

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Eric Ravilious: Drawn to War – Documentary Trailer – One of Britain’s greatest landscape artists, Eric Ravilious, was killed in a plane crash in 1942. His life was as compelling and enigmatic as his art, set against the dramatic wartime locations that inspired him.

ERIC RAVILIOUS: DRAWN TO WAR - Trailer

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Suitable Flesh Sex Scenes Were Inspired by 80s Thrillers – The Hollywood Reporter- Armessa Movie News

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Suitable Flesh director Joe Lynch has the resilience one needs to be an indie genre director.

Lynch’s new horror film starring Heather Graham and Barbara Crampton is currently sporting his best reviews since his certified fresh action-horror film, Mayhem (2017). Suitable Flesh spiritually picks up where Crampton left off in the ‘80s, alongside director Stuart Gordon and screenwriter Dennis Paoli. Their H.P. Lovecraft adaptations, Re-Animator and From Beyond, have long been considered cult classics, and once Crampton proposed the idea of adapting Lovecraft’s The Thing on the Doorstep into Suitable Flesh, a project Gordon and Paoli had once developed, Lynch knew he had to pay tribute his heroes and their Miskatonic University-verse.

“The more I got ensconced in it, the more it felt like a natural extension of what these guys did before. It allowed me to respectfully take the baton from Stuart and run with it by tethering to this bigger world,” Lynch tells The Hollywood Reporter.

Lynch also viewed Flesh as an opportunity to fuse horror and the erotic thriller genre, especially at a time when a younger generation is making waves for their disinterest in sexuality on screen. According to a new study from UCLA, nearly half of Gen Z considers sexual content to be superfluous to the plot of movies and TV shows. For Lynch, it comes down to multiple factors including the rise of four-quadrant franchise storytelling and the loss of mid-budget films for grown-ups.

“We got [sex scenes] in the ‘80s and ‘90s, and we got them in the advent of the mid-budget thriller … And because of the dissolution of the adult mid-budget film, we started to lose sex scenes in films, too,” Lynch says.

Below, during a recent conversation with THR, Lynch also details the ways in which he prepared his Suitable Flesh cast for his film’s eroticism and violence. Then he explains how his podcast, The Movie Crypt, kept him in the film industry when his chips were at their lowest. 

So did Barbara Crampton first bring up this H.P. Lovecraft adaptation during your “Pipe Screams” episode of Creepshow?

It was actually before that. I was literally about to leave for Atlanta to go shoot Creepshow, and my flight was the day that the world shut down in March 2020. At that point, we had not cast the episode yet, and six weeks later during the pandemic, Barbara emailed me about this crazy flick, Suitable Flesh. We had been friendly before, but never to the point where she’s emailing me, saying, “What do you think about this project?” So once I got interested and we started developing the script during that summer, I was also able to softly develop the stuff that I was doing with Creepshow.

In August or September of 2020, when the world was starting to open up a little bit, Creepshow was actually the first show to start rolling again in Atlanta. And then [EP] Greg [Nicotero] asked me, “Who do you want to play this part?” And I was like, “Who can I find to play the ultimate Karen? Barbara Crampton!” This would also be my very sly way of showing Barbara that I could make a day and be a responsible filmmaker. At the time, she was only going to produce Suitable Flesh; she wasn’t going to be in it at all. So I thought Creepshow would be a great way to show her that I know what the hell I’m doing. It was almost like an audition for her.

Creepshow is usually shot over three days. It’s a very tight schedule, and by the end of the first day, she went, “We are going to have so much fun together on [Suitable Flesh].” At the time, it was called The Thing on the Doorstep, and when we did cast her in Suitable Flesh, I’ve never worked with anyone who was so prepared. She’s just both sides of the coin. She’s the best. 

Heather Graham and Barbara Crampton in Suitable Flesh

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Suitable Flesh is dedicated to Re-Animator and From Beyond director Stuart Gordon, and it certainly makes sense given Barbara’s involvement and the Dennis Paoli script based on a Lovecraft story. Was the project originally conceived to pick up where Gordon left off?

When Barbara approached me with it, she wasn’t really saying, “We want to continue this Miskatonic-verse.” Now, I had known about the project for a couple of years, because I used to go to these “Masters of Horror” dinners, and a lot of times, you would chew the fat with other heroes of yours. “Hey, Joe Dante is over there. There’s John Landis, and Michael Mann just showed up.” And sitting next to Stuart [Gordon] one night, he was talking about the project, and he was excited about getting the band back together. So as a fan, I was just excited because it was the reunion of all these great artists that I fell in love with back in the Re-Animator and From Beyond and Dagon days.

So when Barbara asked me to take a whack at it, it wasn’t really supposed to be that tethered and that much of an homage. She was just like, “Make it your own.” But the more and more I read it and the more and more I got under the hood, I got excited about, “Well, what if this was set in the same Arkham, Massachusetts?” There was one line right in the beginning that referenced Miskatonic University, and I was like, “Wait a second, there’s a hook right there.” Now, we didn’t have to make it so slavish to whatever serialized version of what Lovecraft was doing back in the day. We could have still just made it as a standalone piece, but as a fan of those movies, I just got more and more excited about slipping in little jokes and little Easter eggs.

So the more I got ensconced in it, the more it felt like a natural extension of what these guys did before. It allowed me to respectfully take the baton from Stuart and run with it by tethering to this bigger world. Lovecraft was doing it back then anyway. A lot of his stories were set in the same world. So it just felt natural to pay homage to Stuart and what he established with [producer] Brian Yuzna, Dennis, Barbara and Jeffrey Combs.

Suitable Flesh BTS

Joe Lynch on the Set of Suitable Flesh

AMP and Eyevox

As far as the intended tone, did you put together a watch list for your cast and crew?

Yes, I also like to make mixtapes for the actors, just to give them a feel of who their characters are. They can run with it if they want, but when it comes to movies, I’m always doing that for all of the collaborators. It gives them a good idea of the approach that I want to take, and it was really important with this movie’s tone because we’re bringing forth that playful, mischievous, dangerous feel that Stuart had with Re-Animator and From Beyond, but also a lot of erotic thrillers that felt indicative of the kind of tone and the style that we wanted for at least two-thirds of the movie.

This kind of stemmed from re-reading Dennis’ The Thing on the Doorstep script, but he structured it with Elizabeth Derby, Heather’s character, telling a crazy story to her best friend [Crampton’s Daniella Upton]. It involves sex and infidelity and caustic choices, and it felt very reminiscent of a lot of these erotic thrillers that we watched back in the ‘80s and ‘90s. And I thought, “Well, if she’s trying to present this visually to her friend, you would see it in her head as if she was watching Basic Instinct or The Last Seduction or Body Chemistry.” And so that’s what we tried to do because most of the movie is one long flashback until we return to the padded cell. 

So when I talked to the actors, I said that I want to present the sex and the eroticism in a way that is coming from a female perspective. That’s why when it comes to some of the nudity in the film or at least the flesh that’s involved, we’re kind of skewing more towards the male side. We see a lot more male flesh than we do female flesh at times. There’s obviously something for everybody, but showing the actors how I wanted to show the more dangerous moments was really important. And look, anytime you give an actor or even a crew member the homework of watching a movie, it usually goes over pretty well.

Yeah, Suitable Flesh is ultimately a horror film, but there are definitely traces of an erotic thriller, in that it contains multiple sex scenes. I’m sure you’ve caught on to the social media discourse that mostly involves a younger generation, but what do you make of their belief that sex scenes in movies are awkward and unnecessary to the plot?

That was one of the reasons why I wanted to do the film, and again, this all stems from Stuart Gordon and Re-Animator and From Beyond. Not to say that sex was not in fashion or favor back in 1985, but for me, as a kid, sex was very cautionary in that it was mostly in slasher films. And in slasher films, if you have sex, you die. So that really freaked me out as a kid. 

But seeing how Stuart and even his cinematographer Mac Ahlberg approached eroticism in these films, [sex scenes] were very much a part of the plot and they were very much a part of the character. So that got me really excited to take that approach with this, and knowing that sex was a part of the plot and sex was a part of the character development of these characters, I had to not worry about certain purviews that are becoming popular these days or were popular. Who knows, maybe the pendulum’s swinging the other way based on how people have been responding to the movie. 

But in the last couple of years, people have been shying away from it for various reasons: one being the Me Too movement and how people are dealing with it on a production side. I’ll be the first person to tell you that it’s not terribly titillating, so to speak, to present these things in a production. They’re very mechanical in a way. You have people standing all over the place, but we still had a very closed set. When you’re making love or having sex with someone, you don’t usually have a camera stuck in your face, and it takes some of the heat out of the moment. 

Even with intimacy coordinators the last couple of years, some filmmakers decide, “You know what? Maybe we can do a cross-fade out of there or maybe we don’t need it at all.” But technology has also changed a lot of this in the way that it’s presented or at least distributed. Gone are the days of Jack Horner [Burt Reynolds] in Boogie Nights wanting to have a story propel this. And maybe this is all just the fact that a lot of stories that have been presented out there don’t really necessitate the sex.

Also, with the internet, people don’t want to sit through something for two hours; they just want to get to the sex. When I was growing up, you had to watch the movie at a theater and wait for the sex, unless you wanted to sit there and fast forward at home. But now you just type a couple keywords and boom, there you go. So that’s where some of this purview is coming from. The sexuality that’s out there now is very “single-serving friend” to paraphrase Fight Club, but it’s getting increasingly more challenging to present that in a way that is sexy while also making sure that everything is completely comfortable with all the actors involved.

So we wanted to buck the trend a little bit, and anytime that we had any kind of sexual relations in the film, everybody knew what we were doing. I did storyboards for everything, and I also gave all the actors and their representatives 32-page documents on exactly how we wanted to present it so that there were no surprises. So everybody walked on set and knew exactly what we were doing, to the point where they would go, “Okay, we know what you’re going to do now, let’s feel free and let’s feel comfortable.” And a lot of the natural chemistry, especially between Barbara, Heather and Judah, came from that.

So the actors felt like they trusted me, and they knew I wasn’t going to pull any shenanigans on them. Those manipulative things that we heard other filmmakers do back in the day, that shit doesn’t fly anymore. So the more that we were all in complete communication, the more that were able to look at each other and go, “Okay, let’s play.”

Suitable Flesh

Judah Lewis in Suitable Flesh

AMP and Eyevox

Heather Graham has performed in these types of scenes before, but being just 22 years old, I don’t believe Judah Lewis has, so it sounds like all the prep helped the dynamic. 

We made him a man on this set. The first day of shooting was the Texas Switch, where we show what Heather’s character is going through in her relationship, and then what her fantasy becomes. So I had to be the dingbat who was like, “Let’s do a Texas Switch!” And that constituted having both Heather, Jonathan [Schaech] and Judah in the same bed and even in the same shot at times. That was Judah’s first day of shooting and he had not turned 21 yet. At the end of the day, he was like, “Well, that was a rite of passage.” (Laughs.) He was such a trooper, and that kid is so talented and such a pro. So no one ever felt like it was awkward at all because he took it as seriously as everybody else did.

Returning to the sex scene discourse, the only theory I have is that Gen Z was raised in a time where franchises were the name of the game, and since those films have to be everything to everyone around the world, they’re sexless for the most part.

Absolutely. I would love to see a Marvel movie really go there. This is something that The Boys played off of, and between all these save-the-world situations, superheroes want to have sex, too. They just don’t show it. So I agree. In general, the way that the business has been in the last 10 or 15 years, it’s either been $100 million, four-quadrant films, or very specific, very low budget, Blumhouse-esque films that are $1 million to $2 million films. They are also secretly trying to hit those four quadrants, because a couple of them did really well, and they don’t want to turn anybody off from the generalized version of what these stories would be. 

So would I love to see more sex scenes and eroticism in those movies if it means something and has a reason to be there? Absolutely. We got them in the ‘80s and ‘90s, and we got them in the advent of the mid-budget thriller, the $10 to $20 million film that would spend the money on the stars and spend the money on the IP, so to speak, which was usually a hot novel that’s on the shelves. So those days are gone, or at least they were gone for the last couple of years. So you’re right. And because of the dissolution of the adult mid-budget film, we started to lose sex scenes in films, too.

So the violent back-up camera sequence is something you’ve been daydreaming about for 15 years?

15 years, yes, and I’m so glad that it’s in the movie. I’ve wanted to do that particular shot since I owned a Prius back in 2007. When dealers show you the car, they actually have you sit in the front and the back, and when I was sitting in the back, I remember seeing that shot and going, “There’s something here. Holy crap. Could you imagine if we actually held on a shot and let that whole thing happen?” And for about 15 years, I’ve been praying that no one else would do that. 

On my first film Wrong Turn 2, when the original script killed Kimberly Caldwell’s character, it just cut to black, and I sold myself in the room by saying, “That’s not what the audience wants. They want to see it go further. They want to see an entertaining kill that they haven’t seen before, and if you show it for as long as possible, that gets audiences more excited, especially when you’re in a crowd.” And in Wrong Turn 2, we essentially cut Kimberly Caldwell, the former American Idol contestant, in half, and then the two mutants walk away with each half all in one take. And the reaction to that was so amazing, especially at festivals, and I’ve been chasing that ever since. 

So I could capture that same feeling with the backup camera shot just as long as no one else did it. And in the original script for The Thing on the Doorstep, this one character falls out of a building, and then this other character stabs them repeatedly before getting pulled away. And I was like, “We can’t just do that. We need more. Wait a second, this other character drove here in a car that probably has a backup camera.” And voila. It all worked out from there.

I’m a long-time fan of your podcast, The Movie Crypt, which you co-host alongside fellow filmmaker and performer, Adam Green. The two of you welcome other actors and filmmakers on the show all the time, so how valuable has that podcast been to your filmmaking? Have you applied anything you’ve picked up from those conversations? 

Yes, when we started The Movie Crypt, it was primarily a promotional tool for Holliston, the sitcom co-starring Adam Green and I. It was only supposed to run for ten weeks, and then at the end of that 10 weeks, the company that we were working with was like, “We have really amazing numbers. You guys should keep going.” And this was at a time when there weren’t too many filmmakers doing filmmaker-on-filmmaker conversations. We never wanted it to be a PR vessel. We wanted people on when they could feel like they could chew the fat with us, and wanted it to be almost therapeutic. 

As you know, this business is tough [for filmmakers]. In the beginning of the week, you’ll be like, “Let’s take on the world.” And by Friday, you want to quit because you’ve been told no so many times. You hit all these roadblocks. But when another filmmaker would come on the podcast and profess their frustrations and their trials and tribulations on whatever film they’ve done past, present or future, it made us go, “You know what? We can stick it out another week as filmmakers and keep pushing ourselves forward.” 

[The Salma Hayek-led] Everly would be my first film to have the Movie Crypt influence, and so the biggest thing that I’ve learned from it is to never give up. That’s kind of become our motto for the show. There have been some really rough times, both professionally and personally, and there have been plenty of moments where I could have hung it all up and found another job. And yet, I keep going. Maybe 10 percent of it is out of just pure ignorance and naivete, but most of it is knowing that all of the filmmakers that we’ve had on have also been through this. 

I did a film called Knights of Badassdom, which was a very difficult situation. We found out later it was a Ponzi scheme. I had no control over the final cut, and that broke my heart. I was ready to give it up. I was done. And through those “Masters of Horror dinners that Mick Garris put on, we had become really friendly with Don Cascarelli. He’s one of my heroes behind the Phantasm films and also The Beastmaster. So we had Don on the show, and I was like, “I can’t wait to talk to you about Beastmaster.” And watching my hero’s face change, it was like someone stuck a lemon in his mouth. He went, “Ooh.” And we were like, “What happened?’ And he went, “I don’t really like to talk about that one. They took the cut away from me.” And then he explained every single thing that I was going through at the time with Knights of Badassdom.

So, hearing that, it completely changed my perspective on making films and the reaction of those films. Once you’re done, there’s nothing you can do about it. Suitable Flesh is out now, and we’re getting really great reviews. We’re also getting some people who say it’s the worst piece of shit ever. I can’t control that. You can’t control the subjectivity of what someone brings into watching your film. So that rewired me completely, and it really did rewire me in every film that I’ve made since. With Knights of Badassdom (2012), I was trying to make everybody happy and not myself. If you ever go back and watch Everly (2014), I see it now, metaphorically. I see an artist who is trapped in a box and is trying to literally shoot their way out. I was incredibly angry, and that is an angry movie, but that is truly a reflection of where I was. Same thing with [the Steven Yeun and Samara Weaving-led] Mayhem

Independent film, man. It’s not like you get a three-picture deal and a bungalow at Warner Bros. anymore. You have bills to pay and mouths to feed, so I immediately had to go back to work. I ended up getting this corporate job, and it was soul-sucking, because I somewhat consider myself a creative person. And when you work in corporate life, it is not creative at all. I was miserable. So Mayhem was my reaction to what it’s like being a cog in a huge machine. And having The Movie Crypt and hearing Don Cascarelli say, “Stop doing it for everybody else, do it for you,” that changed everything for me.

A decade ago, you made an unauthorized Venom short called Truth in Journalism (2013). Did anything ever come of that, be it a strongly worded letter from Sony, or a bottle of water when they were developing what would become Tom Hardy’s Venom?

I’m so glad you brought that up. I still find Truth in Journalism to be one of the best things that I’ve ever done, or at least one of the most enjoyable things I’ve ever done. I love it. I did that in Between Knights of Badassdom and Everly, and pardon my French, but I gave no fucks. I wanted to do something that was purely from the id. I wasn’t trying to make it a calling card. If I was trying to make a calling card, I wouldn’t have made an entire Marvel fan film based on Man Bites Dog, the incredibly nihilistic and violent Belgian film from the ‘90s.

But when presented with this idea, I just went, “Why not? There’s no money here, and the worst thing that could happen is someone says, ‘Take it down.’” That’s why the title card says Eddie B instead of Eddie Brock, and we never referenced Spider-Man directly. We just alluded to him. So we tried to safeguard ourselves as much as possible from any lawsuits or litigations, but no one told us to take it down. I heard that a couple people from Marvel and Sony really dug it, but I never got that meeting. 

They’re going to keep making these movies to the point where they’re going to say one day, “We’ve run out of filmmakers. Who else is out there?” So I would jump at the chance in a heartbeat, because I love Eddie Brock as much as you can love a villain-turned-antihero. But that film was the first step of me doing things for me, and to be able to do an ‘80s mashup of Venom in the universe of Man Bites dog in the ‘80s, that was a chef’s kiss.

***
Suitable Flesh is available Oct. 27 in theaters and on VOD.

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5 Halloween Costumes Inspired By Taylor Swift’s Eras Tour- Armessa Movie News

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Taylor Swift has owned the month of October this year. From the release of her Eras Tour concert film on the 2023 movie schedule and the re-release of 1989 (Taylor’s Version) to the dating rumors surrounding her and Travis Kelce, she’s reached a peak when it comes to being at the center of the pop culture conversation. And all this is on top of her epic year that was greatly sustained by her historic tour. Now, as she prepares to go back out and perform, and Halloween approaches, it feels like a fantastic way to celebrate spooky season (and Taylor Swift’s dominant year) is by dressing up as one of her Eras for Halloween. 

Now, I know there are ten albums to choose from. However, we’ve curated five looks from five eras for you that are relatively easy to piece together, making them perfect for Halloween!

(Image credit: Photo by John Shearer/TAS23/Getty Images for TAS Rights Management)

1989

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Why Call Me By Your Name And Dune Inspired Martin Scorsese To Work With Timothée Chalamet- Armessa Movie News

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Martin Scorsese is one of the greatest filmmakers alive today, and Timothée Chalamet is one of our most promising young actors. Which is why when the two decided to team up for a Bleu de Chanel campaign, it caused quite a stir online. Photos of the two shooting the commercial in New York went viral, with many fans excited about the superstar collaboration. While the desire to work with Scorsese was an expressed desire by Chalamet, it was the actor’s performances in Call Me By Your Name and Dune that made the Goodfellas director want to work with him as well. 

In a recent video from GQ, Chalamet had the opportunity to sit down with Scorsese to ask him questions about filmmaking, and chat about their experience working together on the Chanel ad campaign. Scorsese talked about being approached by the designer brand to do the commercial, and what about Chalamet’s past performances drew him to the Lady Bird actor. The filmmaker said:

First time I saw him was in Luca [Guadagnino]’s film. Call Me By Your Name. And so, you know, and I’m great admirer of Luca, and I loved the picture. I always talk about performances, but they aren’t really, they’re like behavioral, where you don’t see the acting, you know what I mean? And so I connected there, and I saw Dune, you know, which I enjoyed. And I started to see a sense of range. And then Chanel asked me to do this spot for Bleu. Which you had already done. I had done years ago. The first one. They said they had this young gentleman named Timothée Chalamet, and I said, ‘Ah, that one I know.’

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Fotosíntesis Media Preps ‘Ch’umel,’ Inspired by Tzeltal Beliefs   – Armessa Movie News

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Fotosíntesis Media, a Mexican pioneer in cause-driven entertainment, has unveiled  “Ch’ulel,” a 2D fantasy adventure animated feature for 6-8s tapping into the mindset of Tzeltal community.

Mexico City-based, Fotosíntesis Media burst onto the scene in 2015, launched by Cannes-winning director Carlos Reygadas and producer Jaime Romandia and director-producer Miguel Angel Uriegas. 

Having scored Mexican Academy best animated feature Ariels in 2016 for “The Stone Boy,” which Uriegas directed and produced and another Ariel in 2021 for “A Costume for Nicholas” “Ch’ulel” will be the sixth feature for Fotosintesis which world premiered a fourth, “Bestia,” co-produced with Denmark’s Zentropa and Brazil’s Levante Films, at June’s Guadalajara Film Festival. 

Announced at the 2021 Quirino Awards, a fifth feature, “My Friend the Sun,” is in production, with a completion date set for Nov. 2024 and theatrical release in 2025.  

“Ch’ulel” has just been selected for Animation! Pitching Sessions, the animated project forum at Ventana Sur, a joint venture of Cannes Marché du Film and Argentina’s INCAA film-TV agency.   

According to the indigenous community of the Tzeltal, everything in this world has a Ch’ulel, a soul., the animated feature’s synopsis observes.  

When people in her village begin to fall ill, Sakbé, a young Tzeltal girl, will embark on a journey of self-discovery and cultural heritage to unlock the maximum potential of her Ch’ulel and save the future of her community. 

Ch’ulel
Courtesy of Fotosíntesis Media

“Ch’ulel” marks the feature debut of director Sarah Emilia Páramo, a Mexico City-based 2D animator attracted to projects with a social undertow. Currently in development, is written by Uriegas and Celia Varona and produced by Uriegas and María Sojob. 

“After our experience with ‘My Friend the Sun’ exploring the Aztec myths and incorporating a character with dialogues in Nahuatl in the film, which is the most spoken indigenous language in our country, we decided to continue in that direction and push the line further into exploring the cultural heritage of a small indigenous community that not many people knows about: the Tzeltal community,” Uriegas said. 

“Their beliefs are rooted in a magical, surrealistic vision of humankind (along with its modernity) and nature as one intertwined macro-environment that has everything to feed into an amazing fantasy story,” he observed adding that “We strongly believe that it is very important for the new generations to learn about this and find ways to reconnect with this heritage and, as always, find ways to use the film in benefit of the community.” 

“The thing that inspires me the most about ‘Ch’ulel’ is the fact that it is a fantasy story rooted in something real, something palpable,” said Páramo. 

“You can take a plane and visit this community, learn from them. In a world where most animated media is based on pure fantasy, this one is actually based on something real. I want to imprint a language and visual style that can break our traditional perception of indigenous communities and bring that perception to this very moment.”

“Ch’lel” has no star voice cast attached but, in what Uriegas calls “one of the greatest values of this project,” the voice of one of the main characters will be performed by an indigenous prayer and healer woman from the Tzeltal community, the 80-year-old María Ruz, from state of Chiapas, who will perform in her native tongue. “Her craft is getting forgotten with every new generation, so it is of utmost importance to preserve her prayers and knowledge through the film,” Uriegas added.

Animation! runs Nov. 27-Dec. 1 in Buenos Aires. 

Miguel Angel Uriegas (center), pre-recording with María Ruz (second right)
Courtesy of Fotosíntesis Media

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