Exclusive: Westbrook Studios, Netter Films, and PalmStar Media have locked a September start date in Morocco for The Alchemist, the seminal Paulo Coelho novel that PalmStar principal Kevin Frakes will direct. Sebastian de Souza, Tom Hollander, and Shohreh Aghdashloo have been set to star. Pic will be ready for release in late 2022.
De Souza joins as Santiago; he is cast alongside Hollander and Aghdashloo. They are joined by Jordi Molla (Jack Ryan), Youssef Kerkour (House of Gucci), and Ashraf Barhom (By Any Means).
The film is produced by Will Smith and Jon Mone for Westbrook Studios; Frakes and Raj Singh for PalmStar; and Gil Netter for Netter Films.
The Alchemist follows a young Andalusian shepherd boy named Santiago on an epic quest for life-changing treasure. The book is an international best-seller and beloved literary work...
De Souza joins as Santiago; he is cast alongside Hollander and Aghdashloo. They are joined by Jordi Molla (Jack Ryan), Youssef Kerkour (House of Gucci), and Ashraf Barhom (By Any Means).
The film is produced by Will Smith and Jon Mone for Westbrook Studios; Frakes and Raj Singh for PalmStar; and Gil Netter for Netter Films.
The Alchemist follows a young Andalusian shepherd boy named Santiago on an epic quest for life-changing treasure. The book is an international best-seller and beloved literary work...
- 7/8/2021
- by Mike Fleming Jr
- Deadline Film + TV
Veteran UK casting director Priscilla John (Logan) has launched Casting Pictures Limited with fellow casting executive Orla Maxwell (Red Joan).
The duo have worked together for more than 20 years as casting director and co-casting director/associate but the new firm will mark the beginning of their casting director partnership. They will be supported by associates Francesca Bradley and Andreya Lynham.
Emmy-nominee John’s dozens of major credits include Logan, Mamma Mia! and Captain America: The First Avenger. Recent productions include British feature Red Joan; Red Production’s eight-part Harlan Coben thriller Safe for Netflix; and Krypton seasons one & two for Warner Horizon/SyFy.
Recent European castings have included Michael Bay’s 6 Underground for Netflix/Skydance and UK casting on Amblin Entertainment’s The Turning. Also on the slate have been Glen Mazzara’s The Dark Tower for Amazon and Antoine Fuqua’s feature Infinite for Paramount. The duo have just commenced casting on Spell,...
The duo have worked together for more than 20 years as casting director and co-casting director/associate but the new firm will mark the beginning of their casting director partnership. They will be supported by associates Francesca Bradley and Andreya Lynham.
Emmy-nominee John’s dozens of major credits include Logan, Mamma Mia! and Captain America: The First Avenger. Recent productions include British feature Red Joan; Red Production’s eight-part Harlan Coben thriller Safe for Netflix; and Krypton seasons one & two for Warner Horizon/SyFy.
Recent European castings have included Michael Bay’s 6 Underground for Netflix/Skydance and UK casting on Amblin Entertainment’s The Turning. Also on the slate have been Glen Mazzara’s The Dark Tower for Amazon and Antoine Fuqua’s feature Infinite for Paramount. The duo have just commenced casting on Spell,...
- 10/9/2019
- by Andreas Wiseman
- Deadline Film + TV
Step aside, Millie Bobby Brown — there’s a new badass child star in town.
Dafne Keen is causing a stir with her film debut as female Wolverine clone Laura Kinney (aka X-23) opposite Hugh Jackman in the latest Wolverine stand-alone spin-off Logan.
Just over four feet tall and incredibly dangerous, Laura comes under the guardianship of Jackman’s Logan while being hunted in the violent R-rated flick.
Here’s five things you should know about Keen before (and after) watching Logan this weekend:
1. It took an extensive casting call to find her
While casting the young actress to take on the role of Laura,...
Dafne Keen is causing a stir with her film debut as female Wolverine clone Laura Kinney (aka X-23) opposite Hugh Jackman in the latest Wolverine stand-alone spin-off Logan.
Just over four feet tall and incredibly dangerous, Laura comes under the guardianship of Jackman’s Logan while being hunted in the violent R-rated flick.
Here’s five things you should know about Keen before (and after) watching Logan this weekend:
1. It took an extensive casting call to find her
While casting the young actress to take on the role of Laura,...
- 3/3/2017
- by Brianne Tracy
- PEOPLE.com
FeatureFilmCasting.com have revealed the casting call sheet for the supporting cast of Marvel Studios The First Avenger: Captain America. The casting call also reveals the shooting dates, and the list of just exactly who has auditioned for the pivotal role of Captain America:
Marvel Studios “The First Avenger: Captain America” Auditions and Casting Information
Paramount Studios, Arad Productions, and Marvel Studios have teamed up to begin production on the feature film “The First Avenger: Captain America.”
Chace Crawford, John Krasinski, Scott Porter, Mike Vogel, Michael Cassidy, and Patrick Flueger have screen tested for the lead role of Steve Rogers. An announcement on the casting decision is expected within the next few weeks. Auditions and casting for the remaining supporting actors, day players, and extras will be ongoing.
Filming begins June 28, 2010 and the release date is scheduled for July 22, 2011.
Please submit photos and resumes by mail only. No phone calls or personal drop-offs.
Marvel Studios “The First Avenger: Captain America” Auditions and Casting Information
Paramount Studios, Arad Productions, and Marvel Studios have teamed up to begin production on the feature film “The First Avenger: Captain America.”
Chace Crawford, John Krasinski, Scott Porter, Mike Vogel, Michael Cassidy, and Patrick Flueger have screen tested for the lead role of Steve Rogers. An announcement on the casting decision is expected within the next few weeks. Auditions and casting for the remaining supporting actors, day players, and extras will be ongoing.
Filming begins June 28, 2010 and the release date is scheduled for July 22, 2011.
Please submit photos and resumes by mail only. No phone calls or personal drop-offs.
- 3/2/2010
- by Phil
- Nerdly
Little Voice, a shy, repressed young woman, does not have a voice of her own -- she has the classic vocal chords of Shirley Bassey, Judy Garland, Billie Holiday, Marlene Dietrich and Marilyn Monroe.
This bittersweet story of one woman's transformation from a wounded recluse to a vital being will delight mature movie audiences. The Miramax film was a hit among the opening-night high-rollers here at the 34th annual Chicago Film Festival. With tangy performances by Brenda Blethyn, Michael Caine and Jane Horrocks as the nightingale-throated lead, "Little Voice" should resound quite nicely on the art house circuit.
With the same basic thematic tune as "Brassed Off", the tart England-set tale of a few years back in which music revitalized a depressed mining community, "Little Voice" follows that same refrain. In this working-class England yarn, Mari (Blethyn), a lusty hag and her withdrawn daughter eke out a living selling music memorabilia, a business Mari's late husband, whom she loathed and did not appreciate, has left them. Unlike her mother, Little Voice (Horrocks) worships the memory of her father, paying tribute to him daily by playing his old, classic record collection of show tunes and love songs.
Alone in her room with a photo of her late father and the music that she worships, Little Voice is, sadly, one very wounded young lady. Her salvation, like real life, comes in a most dubious form, namely with one Ray Say (Caine), a dissipated, small-time agent who inadvertently hears her sing while on a boozy bang with her mum. Pencil in three measures of "Rocky" in a "Shine" key and, basically, you've got this minor-key but resonant narrative.
While screenwriter-director Mark Herman's stage-play adaptation is utterly predictable, it's ripe with peculiar moments and particularity. In short, it's best in its vivid depiction of the messiness of ordinary life as each character struggles with inner conflicts and needs that are not necessarily in sync with their grimy outside world.
For the most part, "Little Voice" registers as real-life -- although, at times, its structural, movie seams tend to show. What lifts it above formulaic melodramatics are the keen performances. Blethyn is particularly outstanding as the blowsy, bellicose woman who is heart-wrenchingly vulnerable. Blethyn's performance never stoops to softening the character's venal nastiness, which makes it all the more credible.
Similarly, Caine never glossies up the pathetic down-spiral of his character, a braggart and a boozer who is terminally small-time. Caine's performance as this bellicose loser is hard-forged and perfectly edged.
As Little Voice, Horrocks brings us a one-woman, superstar show of high entertainment. Her renditions of Garland, Holiday, Dietrich and Monroe are fabulous, as is her portrayal of a deeply troubled and withdrawn young woman. Ian McGregor adds a sympathetic turn as a telephone technician whose own solitary nature lends him, somewhat magically, to find Little Voice. Jim Broadbent is entertaining and consistently believable as a paltry club owner who fancies himself in show biz.
"Little Voice" is most eloquent in its smaller moments, a tribute to Mark Herman's writing and direction. He is to be commended for the film's gritty and earthy tones, smartly rejecting opportunities to "Hollywood-ize" it. Technical contributions are smartly realized, namely cinematographer Andy Collins shrewdly small scopings and composer-arranger John Altman's nervy melodies.
LITTLE VOICE
Miramax Films
Miramax Films presents and Scala Prods. present
a Scala production
A film by Mark Herman
Producer: Elizabeth Karlsen
Screenwriter-director: Mark Herman
Based on the stage play "The Rise and Fall of Little Voice" by: Jim Cartwright
Executive producers: Nik Powell, Stephen Woolley
Co-executive producers: Bob Weinstein, Harvey Weinstein, Paul Webster
Co-producer: Laurie Borg
Director of photography: Andy Collins
Production designer: Don Taylor
Editor: Mike Ellis
Music supervisor: Bob Last
Music and arrangements: John Altman
Costume designer: Lindy Hemming
Casting director: Priscilla John
Sound recordist: Peter Lindsay
Supervising sound editor: Dennis McTaggart
Color/stereo
Cast:
Mari: Brenda Blethyn
Little Voice: Jane Horrocks
Billy: Ewan McGregor
George: Philip Jackson
Sadie: Annette Badland
Ray Say: Michael Caine
Mr. Boo: Jim Broadbent
Running time -- 99 minutes
MPAA rating: R...
This bittersweet story of one woman's transformation from a wounded recluse to a vital being will delight mature movie audiences. The Miramax film was a hit among the opening-night high-rollers here at the 34th annual Chicago Film Festival. With tangy performances by Brenda Blethyn, Michael Caine and Jane Horrocks as the nightingale-throated lead, "Little Voice" should resound quite nicely on the art house circuit.
With the same basic thematic tune as "Brassed Off", the tart England-set tale of a few years back in which music revitalized a depressed mining community, "Little Voice" follows that same refrain. In this working-class England yarn, Mari (Blethyn), a lusty hag and her withdrawn daughter eke out a living selling music memorabilia, a business Mari's late husband, whom she loathed and did not appreciate, has left them. Unlike her mother, Little Voice (Horrocks) worships the memory of her father, paying tribute to him daily by playing his old, classic record collection of show tunes and love songs.
Alone in her room with a photo of her late father and the music that she worships, Little Voice is, sadly, one very wounded young lady. Her salvation, like real life, comes in a most dubious form, namely with one Ray Say (Caine), a dissipated, small-time agent who inadvertently hears her sing while on a boozy bang with her mum. Pencil in three measures of "Rocky" in a "Shine" key and, basically, you've got this minor-key but resonant narrative.
While screenwriter-director Mark Herman's stage-play adaptation is utterly predictable, it's ripe with peculiar moments and particularity. In short, it's best in its vivid depiction of the messiness of ordinary life as each character struggles with inner conflicts and needs that are not necessarily in sync with their grimy outside world.
For the most part, "Little Voice" registers as real-life -- although, at times, its structural, movie seams tend to show. What lifts it above formulaic melodramatics are the keen performances. Blethyn is particularly outstanding as the blowsy, bellicose woman who is heart-wrenchingly vulnerable. Blethyn's performance never stoops to softening the character's venal nastiness, which makes it all the more credible.
Similarly, Caine never glossies up the pathetic down-spiral of his character, a braggart and a boozer who is terminally small-time. Caine's performance as this bellicose loser is hard-forged and perfectly edged.
As Little Voice, Horrocks brings us a one-woman, superstar show of high entertainment. Her renditions of Garland, Holiday, Dietrich and Monroe are fabulous, as is her portrayal of a deeply troubled and withdrawn young woman. Ian McGregor adds a sympathetic turn as a telephone technician whose own solitary nature lends him, somewhat magically, to find Little Voice. Jim Broadbent is entertaining and consistently believable as a paltry club owner who fancies himself in show biz.
"Little Voice" is most eloquent in its smaller moments, a tribute to Mark Herman's writing and direction. He is to be commended for the film's gritty and earthy tones, smartly rejecting opportunities to "Hollywood-ize" it. Technical contributions are smartly realized, namely cinematographer Andy Collins shrewdly small scopings and composer-arranger John Altman's nervy melodies.
LITTLE VOICE
Miramax Films
Miramax Films presents and Scala Prods. present
a Scala production
A film by Mark Herman
Producer: Elizabeth Karlsen
Screenwriter-director: Mark Herman
Based on the stage play "The Rise and Fall of Little Voice" by: Jim Cartwright
Executive producers: Nik Powell, Stephen Woolley
Co-executive producers: Bob Weinstein, Harvey Weinstein, Paul Webster
Co-producer: Laurie Borg
Director of photography: Andy Collins
Production designer: Don Taylor
Editor: Mike Ellis
Music supervisor: Bob Last
Music and arrangements: John Altman
Costume designer: Lindy Hemming
Casting director: Priscilla John
Sound recordist: Peter Lindsay
Supervising sound editor: Dennis McTaggart
Color/stereo
Cast:
Mari: Brenda Blethyn
Little Voice: Jane Horrocks
Billy: Ewan McGregor
George: Philip Jackson
Sadie: Annette Badland
Ray Say: Michael Caine
Mr. Boo: Jim Broadbent
Running time -- 99 minutes
MPAA rating: R...
- 10/12/1998
- The Hollywood Reporter - Movie News
An old yarn has been restitched with '90s lacing in 20th Century Fox's "Ever After", a captivating new spin on the classic "Cinderella" story. Featuring Drew Barrymore as a sprightly, decidedly feisty Cinderella figure, the sumptuous film should especially delight young girls. Enchantingly lensed, adults will find it appealing as well, and down the line it should be a hit as a slumber-party rental.
Danielle (Barrymore) is no ordinary 16th century girl: She is prone to quoting Sir Thomas More when not scampering about her father's castle, climbing trees and tossing apples at itinerant princes. But Danielle's world is shattered by the death of her kindly father, and she must endure the treachery of her cruel stepmother (Anjelica Huston) and two stepsisters -- one a manipulative beauty (Megan Dodds) and the other a lethargic tattletale (Melanie Lynskey). While Danielle is subjugated to servantlike duties, her high spirits remain intact: In the '90s lexicon of much of the script, she is no victim.
Narratively, "Ever After" is ever amusing. It's a refreshing blend of adventurous escapades, personal treachery and individual growth. Screenwriters Susannah Grant, Andy Tennant (who also directed) and Rick Parks have concocted a frothy blend of all the best fairy tale ingredients and condensed it to a keen story of one girl's valiant personal battles against great odds. It will surely be an inspirational grid for young girls everywhere -- not to mention us older coots -- as they follow Danielle's daily battles.
Barrymore is enchanting and charismatic as the young girl who must survive the backbiting of her siblings and stepmother. Her spunky, athletic performance imbues her Cinderella-esque character with a dimension we haven't seen before. Huston is wonderful as her evil stepmother, while Dodds is well-cast as vainglorious, beautiful stepsister Marguerite. Dougray Scott is both dashing and humble as the apple of Danielle's eye, Prince Henry, while Lynskey brings particularity to the other stepsister, Jacqueline. Jeanne Moreau graces the production briefly, fittingly playing a Grande Dame.
Adorning the central story and magnifying it to its fullest dimension are superb technical contributions. Director Tennant ("Fools Rush In") has magically mustered his cinematic palette to most vivid scope. Under his wise, spry hand, "Ever After" is a visual treat. Cinematographer Andrew Dunn's atmospheric lensings of magnificent, castlelike settings truly give the film a sparkling air, while Michael Howells' production design is fittingly earthy, both harrowing and funny. Costume designer Jenny Beavan's adornments are eye-popping and clue us to the characters' personalities; in particular, Huston's intimidating hats are both amusing and forbidding. Topping it off is George Fenton's robust but dreamy score, another technical high note in this well-spun old/new tale.
EVER AFTER
20th Century Fox
A Mireille Soria production
An Andy Tennant film
Producers: Mireille Soria, Tracey Trench
Director: Andy Tennant
Screenwriters: Susannah Grant and Andy Tennant & Rick Parks
Director of photography: Andrew Dunn
Production designer: Michael Howells
Editor: Roger Bondelli
Costume designer: Jenny Beavan
Co-producers: Kevin Reidy, Timothy M. Bourne
Music: George Fenton
Casting: Priscilla John, Lucinda Syson
Sound mixer: Simon Kaye
Color/stereo
Danielle: Drew Barrymore
Rodmilla: Anjelica Huston
Prince Henry: Dougray Scott
Leonardo: Patrick Godfrey
Marguerite: Megan Dodds
Jacqueline: Melanie Lynskey
King Francis: Timothy West
Queen Marie: Judy Parfitt
Auguste: Jeroen Krabbe
Paulette: Kate Lansbury
Gustave: Lee Ingleby
Running time -- 121 minutes
MPAA rating: PG-13...
Danielle (Barrymore) is no ordinary 16th century girl: She is prone to quoting Sir Thomas More when not scampering about her father's castle, climbing trees and tossing apples at itinerant princes. But Danielle's world is shattered by the death of her kindly father, and she must endure the treachery of her cruel stepmother (Anjelica Huston) and two stepsisters -- one a manipulative beauty (Megan Dodds) and the other a lethargic tattletale (Melanie Lynskey). While Danielle is subjugated to servantlike duties, her high spirits remain intact: In the '90s lexicon of much of the script, she is no victim.
Narratively, "Ever After" is ever amusing. It's a refreshing blend of adventurous escapades, personal treachery and individual growth. Screenwriters Susannah Grant, Andy Tennant (who also directed) and Rick Parks have concocted a frothy blend of all the best fairy tale ingredients and condensed it to a keen story of one girl's valiant personal battles against great odds. It will surely be an inspirational grid for young girls everywhere -- not to mention us older coots -- as they follow Danielle's daily battles.
Barrymore is enchanting and charismatic as the young girl who must survive the backbiting of her siblings and stepmother. Her spunky, athletic performance imbues her Cinderella-esque character with a dimension we haven't seen before. Huston is wonderful as her evil stepmother, while Dodds is well-cast as vainglorious, beautiful stepsister Marguerite. Dougray Scott is both dashing and humble as the apple of Danielle's eye, Prince Henry, while Lynskey brings particularity to the other stepsister, Jacqueline. Jeanne Moreau graces the production briefly, fittingly playing a Grande Dame.
Adorning the central story and magnifying it to its fullest dimension are superb technical contributions. Director Tennant ("Fools Rush In") has magically mustered his cinematic palette to most vivid scope. Under his wise, spry hand, "Ever After" is a visual treat. Cinematographer Andrew Dunn's atmospheric lensings of magnificent, castlelike settings truly give the film a sparkling air, while Michael Howells' production design is fittingly earthy, both harrowing and funny. Costume designer Jenny Beavan's adornments are eye-popping and clue us to the characters' personalities; in particular, Huston's intimidating hats are both amusing and forbidding. Topping it off is George Fenton's robust but dreamy score, another technical high note in this well-spun old/new tale.
EVER AFTER
20th Century Fox
A Mireille Soria production
An Andy Tennant film
Producers: Mireille Soria, Tracey Trench
Director: Andy Tennant
Screenwriters: Susannah Grant and Andy Tennant & Rick Parks
Director of photography: Andrew Dunn
Production designer: Michael Howells
Editor: Roger Bondelli
Costume designer: Jenny Beavan
Co-producers: Kevin Reidy, Timothy M. Bourne
Music: George Fenton
Casting: Priscilla John, Lucinda Syson
Sound mixer: Simon Kaye
Color/stereo
Danielle: Drew Barrymore
Rodmilla: Anjelica Huston
Prince Henry: Dougray Scott
Leonardo: Patrick Godfrey
Marguerite: Megan Dodds
Jacqueline: Melanie Lynskey
King Francis: Timothy West
Queen Marie: Judy Parfitt
Auguste: Jeroen Krabbe
Paulette: Kate Lansbury
Gustave: Lee Ingleby
Running time -- 121 minutes
MPAA rating: PG-13...
- 7/27/1998
- The Hollywood Reporter - Movie News
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