I ROCKED HENRY CAVILL’S MOUSTACHE FOR A MONTH & IT WAS COMPLETELY HUMILIATING

As I discovered over the course of November, growing a moustache is not as easy as you’d think

This was only made worse by the fact I hadn’t chosen the simple route of growing a mo’ – any mo’ – for charity, but decided to dedicate myself to imitating Justice League star Henry Cavill and the magnificent moustache that almost cost Paramount 3 million dollars.

The 37-year-old British institution, then, is not only known for taking on Batman (as Superman), but also for this magnificent m*ck off moment.

Me? I’m not known for anything except (dreadfully) copying Chris Hemsworth’s infamous f*ckboi haircut and lockdown beard.

In other words: I have nothing but my dignity to lose.

Here’s everything I learned.

• Preparation is key
  
• You still have to shave
  
• You must be prepared to lose your identity
  
• If you want it to look any good, you must ‘house train’ it
  
• If you get ‘Mo-security’ you can let your cheeks grow out
  
• People will judge you if you stroke it too much
  
• The emotional attachment is real
  
• Naming it is a little weird…
  
• Even if you succeed, you may not get all the praise you were hoping for
  
• Growing a moustache can help you nail a look previously out of reach
  

Movember is a great cause more than worth getting on board with. Just make sure you don’t pick an idol that is likely to humiliate what your upper lip can offer up.

https://www.dmarge.com/2020/11/henry-cavill-moustache-humiliating.html

@Blue-Rose said:

RF

I have no intention of allowing Joss Whedon to use the old Hollywood tactic of “exiting”, “stepping down”, or “walking away” to cover for his terrible behavior.

WarnerMedia’s JL investigation has been in full swing for over 3 weeks now.

This is undoubtedly a result of it.

https://www.instagram.com/p/CICSXCTJyjR/

JW’s reason for leaving: This year of unprecedented challenges has impacted my life and perspective in ways I could never have imagined, and while developing and producing The Nevers has been a joyful experience, I realize that the level of commitment required moving forward, combined with the physical challenges of making such a huge show during a global pandemic, is more than I can handle without the work beginning to suffer. I am genuinely exhausted, and am stepping back to martial my energy towards my own life, which is also at the brink of exciting change. I am deeply proud of the work we have done; I’m grateful to all my extraordinary cast and collaborators, and to HBO for the opportunity to shape yet another strange world. The Nevers is a true labor of love, but after two plus years of labor, love is about all I have to offer. It will never fade.

HBO: We have parted ways with Joss Whedon. We remain excited about the future of The Nevers and look forward to its premiere in the summer of 2021.

The Snyder cut isn’t HBO Max’s only weapon in the streaming war.

WJS

Warner Bros. to Release All 2021 Films on HBO Max and in Theaters Simultaneously

The strategy covers all 17 movies scheduled for release by the studio next year, including big-budget films such as the science-fiction adaptation “Dune” and a new installment in the “Matrix” franchise [The Suicide Squad, Space Jam: A New Legacy, Godzilla vs. Kong, Mortal Kombat, The Conjuring: The Devil Made Me Do It, In the Heights, The Many Saints of Newark, The Little Things, Cry Macho, Tom & Jerry, King Richard, Judas and the Black Messiah, Those Who Wish Me Dead, Reminiscence, Malignant]. HBO Max will host the movies for only their first month of theatrical release before the films follow their usual distribution pattern.

The decision follows recent similar moves by other studios and cements a new reality in Hollywood: Subscriptions are more important than box office. What began as an effort to counterbalance the dominance of Netflix Inc., has rewritten the strategies at every major studio with a home-streaming service of its own. The reorientation was accelerated by a pandemic that has closed most movie theaters and all but eliminated whatever leverage their owners once had.

AMC Chief Executive Adam Aron said he signed on to accept simultaneous streaming and theater release for “one film only, ‘Wonder Woman 1984,’ ” at Christmas. He said WarnerMedia must be willing to give up “a considerable portion of the profitability” of its studio division to “subsidize” HBO Max, adding, “We will do all in our power to ensure that Warner does not do so at our expense.”

Warner Bros. executives emphasized that the changes announced Thursday only applied to 2021 films. Outside the U.S., the films will be released exclusively in movie theaters and later move to streaming.

Having a slate of expensive theatrical-quality releases could help drive subscriber growth to HBO Max, which has struggled to find breakthrough content in a crowded marketplace.

Warner Bros. will judge a film on two merits: box-office grosses and subscribers driven to HBO Max.

Many Hollywood insiders have speculated whether companies like Warner Bros. and Universal Pictures would push to compete with Netflix, which has maintained a streaming-first strategy since day one. By releasing big-budget franchise films like “Matrix 4,” “Dune” and “Godzilla vs. Kong” on HBO Max, Warner Bros. has blasted a massive shot across their bow. Netflix has spent prodigiously on making and acquiring films but hasn’t established any name-brand movie franchises of its own.

HBO Max is paying a license fee for its 30-day window, a portion of which will be shared with the stars and top creative talent who have deals entitling them to a cut, a person familiar with the matter said. By paying talent up front, WarnerMedia is hoping to avoid complicated formulas to determine the financial success of a particular movie based on its performance on its streaming service.

While the $14.99 monthly price tag for HBO Max has been seen as a detriment in the streaming world, having a steady flow of big-budget movies available may make the cost easier for consumers to swallow and help the fledgling service in its battle against other services.

https://www.wsj.com/articles/warner-bros-to-release-all-2021-films-on-hbo-max-in-theaters-simultaneously-11607020941

@Triksy said:

WJS

Warner Bros. to Release All 2021 Films on HBO Max and in Theaters Simultaneously

Warner Bros. executives emphasized that the changes announced Thursday only applied to 2021 films. Outside the U.S., the films will be released exclusively in movie theaters and later move to streaming.

Having a slate of expensive theatrical-quality releases could help drive subscriber growth to HBO Max, which has struggled to find breakthrough content in a crowded marketplace.

Word is that HBOM won’t be available worldwide.

@Triksy said:

The Snyder cut isn’t HBO Max’s only weapon in the streaming war.

WJS

Warner Bros. to Release All 2021 Films on HBO Max and in Theaters Simultaneously

The strategy covers all 17 movies scheduled for release by the studio next year, including big-budget films such as the science-fiction adaptation “Dune” and a new installment in the “Matrix” franchise [The Suicide Squad, Space Jam: A New Legacy, Godzilla vs. Kong, Mortal Kombat, The Conjuring: The Devil Made Me Do It, In the Heights, The Many Saints of Newark, The Little Things, Cry Macho, Tom & Jerry, King Richard, Judas and the Black Messiah, Those Who Wish Me Dead, Reminiscence, Malignant]. HBO Max will host the movies for only their first month of theatrical release before the films follow their usual distribution pattern.

Controversy !

New York Times

Trading Box Office for Streaming, but Stars Still Want Their Money

Last month, Warner Bros. quietly approached Hollywood’s two biggest talent agencies, William Morris Endeavor and Creative Artists. The studio wanted to release the much-anticipated “Wonder Woman 1984” simultaneously in theaters and on the streaming service HBO Max on Christmas Day. And they wanted to get the film’s star, Gal Gadot, and director, Patty Jenkins, on board with the plan.

With “Wonder Woman 1984,” agents argued that Ms. Gadot, Ms. Jenkins and the producer Charles Roven (among others) needed to be paid what they most likely would have received had the sequel been released in a traditional manner (an exclusive run in theaters before arriving online) and not during the height of a pandemic. After all, that was what they signed up for, and Warner Bros. and HBO Max, its corporate sibling, wanted their help in promoting the film, did they not?

After a tense negotiation, Warner Bros., which is owned by AT&T, agreed that Ms. Gadot and Ms. Jenkins would each get more than $10 million, according to two people with knowledge of the deals, who spoke on the condition of anonymity to discuss private agreements.

Last week, when Jason Kilar, WarnerMedia’s chief executive, announced that 17 more Warner Bros. movies would each roll out on HBO Max and in theaters à la “Wonder Woman 1984,” talent was handled in a very different manner. To prevent the news of the 17-movie shift from leaking (and to make the move speedily rather than get mired in the expected blowback), WarnerMedia kept the major agencies and talent management companies in the dark until roughly 90 minutes before issuing a news release. Even some Warner Bros. executives had little warning.

The surprise move left agencies on a war footing. Representatives for major Warner Bros. stars like Denzel Washington, Margot Robbie, Will Smith, Keanu Reeves, Hugh Jackman and Angelina Jolie wanted to know why their clients had been treated in a lesser manner than Ms. Gadot. Talk of a Warner Bros. boycott began circulating inside the Directors Guild of America. A partner at one talent agency spent part of the weekend meeting with litigators. Some people started to angrily refer to the studio as Former Bros.

The company cited the pandemic as the primary reason for moving the entire 2021 Warner Bros. slate to a hybrid release model, although some films — notably the big-budget “Dune” and “Matrix 4” — are not scheduled to arrive until the fourth quarter, long after vaccines are expected to be deployed.

Even before the pandemic, streaming services like Netflix, Apple TV+ and Amazon Prime Video were upending how movies get seen and their creators are compensated. Now, with theaters struggling because of the coronavirus and the public largely stuck at home, even traditional film companies are being forced to evolve.

It’s not that all actors and directors are against streaming. Plenty of big names are making movies for Netflix. But last week’s move by Warner Bros. raised fundamental financial questions. If old-line studios are no longer trying to maximize the box office for each film but instead shifting to a hybrid model where success is judged partly by ticket sales and partly by the number of streaming subscriptions sold, what does that mean for talent pay packages?

How studios compensate A-list actors, directors, writers and producers is complicated, with contracts negotiated film by film and person by person. But it boils down to two checks. One is guaranteed (a large upfront fee) and one is a gamble: a portion of ticket sales after the studio has recouped its costs.

If a film flops, the second payday never comes. If a film is a hit, as is often the case with superheroes and other fantasy stories, the “back end” pay can add up to wheelbarrows full of cash. That money trickles down through Hollywood’s financial ecosystem to agents, lawyers and managers […]

But are the days of the jackpot back-end payoffs now coming to a close?

“Precedent is being set over the value of talent and what kind of transparency is essential to creating equitable partnerships,” Bryan Lourd, a co-chairman of Creative Artists, said in an email. “We will do everything necessary to make sure artists are fairly compensated for the value they are creating, and that their creative and artistic work and rights are protected.”

Mr. Kilar said in a phone interview on Friday that, while these changes might be jarring to those who expected one thing for their movie and were now getting something very different, the end goal was to honor talent relationships as the studio had done in the past.

“The most important statement to make is we endeavor to be generous,” he said. “It has served us well for 97 years, and I think it will serve us well going forward.”

WarnerMedia has called its hybrid movie distribution plan a one-year-only strategy. But most people in Hollywood believe it will prove permanent.

Under the WarnerMedia plan, HBO Max will pay Warner Bros. a licensing fee for the 31-day concurrent rights. The fee will be equal to the studio’s portion of ticket sales in the United States. (Ticket sales are generally split 50-50 between studios and theaters.)

Other factors could influence the fee, including the percentage of theaters that are operating. HBO Max and Warner Bros. also agreed to a floor for these fees: $10 million or 25 percent of the film’s net production cost, whichever is greater.

In the eyes of some agents, this is unfair self-dealing. They believe that WarnerMedia had an obligation to maximize value for the profit participants — to make a good-faith effort to see what prices other companies might have paid for the Warner Bros. movies before selling them to itself. The licensing fee does not appear to be connected to the value each movie will create for HBO Max in the form of subscriptions or engagement.

Litigation over self-dealing has been relatively common in Hollywood since the 1990s, when industry consolidation led to media superconglomerates.

Owned by China’s Dalian Wanda Group, Legendary produced the upcoming “Dune” and “Godzilla vs. Kong” under a deal that required Legendary (and its affiliates) to ultimately shoulder 75 percent of the production costs, with Warner Bros. paying for the balance. 

Not only did Warner Bros. blindside Legendary about the distribution shake-up, but HBO Max immediately began advertising itself using footage from “Dune” and other movies. Stars involved with the much-anticipated project were stunned: Some had agreed to lower their upfront fees (to reduce production costs) in return for expected back-end paydays. In success, “Dune” could spawn multiple sequels.

Legendary was already upset with Warner. In recent months, Netflix had offered the partners a huge sum — at least $250 million — to buy “Godzilla vs. Kong.” Legendary was in favor of the deal, which seemed to optimize the film’s value. But Warner had blocked the Netflix sale.

https://www.nytimes.com/2020/12/07/business/media/warner-bros-hbo-max-movies-pay.html

Reuters

'Wonder Woman' director warns movie-going could become extinct (October 7, 2020)

Jenkins is among dozens of top Hollywood directors appealing to the U.S. government to provide a financial lifeline to cinemas. Without it, she warned, the century-old tradition of going to the movies could disappear from American culture.

“If we shut this down, this will not be a reversible process,” she said in an interview from her home in Los Angeles. “We could lose movie theater-going forever.”

Jenkins said widespread closures would lead Hollywood studios to stop investing in films for theaters, and turn to streaming instead.

“It could be the kind of thing that happened to the music industry,” she said, “where you could crumble the entire industry by making it something that can’t be profitable.”

Expensive action movies like “Wonder Woman” would be much less common on streaming, she said, and audiences would miss out on the experience of watching on a big screen in a large group.

“I don’t think any of us want to live in a world where the only option is to take your kids to watch a movie in your own living room,” she said, “and not have a place to go for a date.”

Jenkins said she was watching the progress of the pandemic and hoping that Wonder Woman can lead a return to cinemas that gives people a welcome escape from reality.

“I really hope that we are able to be one of the very first ones to come back and bring that into everyone’s life,” she said.

https://www.reuters.com/article/idUSKBN26S2QF

@Triksy said:

New York Times

Trading Box Office for Streaming, but Stars Still Want Their Money

With “Wonder Woman 1984,” agents argued that Ms. Gadot, Ms. Jenkins and the producer Charles Roven (among others) needed to be paid what they most likely would have received had the sequel been released in a traditional manner (an exclusive run in theaters before arriving online) and not during the height of a pandemic.

Everybody has a price. Money made PJ forget the consequences for movie theater-going. It’s all about the money, money, money. It’s not about any century-old tradition of movie theater-going. The only reason these people want to keep that tradition is because they want the back end pay too. If studios can guarantee a nice back end pay in this new dual system, they’ll forget about movie theater-going and start promoting the dual system and big screen TV with surround system etc. for home.

The surprise move left agencies on a war footing. Representatives for major Warner Bros. stars like Denzel Washington, Margot Robbie, Will Smith, Keanu Reeves, Hugh Jackman and Angelina Jolie wanted to know why their clients had been treated in a lesser manner than Ms. Gadot. Talk of a Warner Bros. boycott began circulating inside the Directors Guild of America. A partner at one talent agency spent part of the weekend meeting with litigators. Some people started to angrily refer to the studio as Former Bros.

A little hard to believe. How reliable is NY Times? After Deadline’s Frosty fake news and Forbes Kylie Jenner’s false billionaire announcement, I’m really skeptical about these online outlets. Studios, talent agencies and celebs seem to pay them to report what they want.

@Sue-Yin said:

Word is that HBOM won’t be available worldwide.

Americans will pay per month, per household and I‘ll have to pay per film, per person? Not going to happen. Everything ends up on the net. I’ll watch them then.

Indiewire

Patty Jenkins ‘Tossed Out’ Joss Whedon’s ‘Justice League’: It Contradicted ‘Wonder Woman’

Patty Jenkins did not mince her words when asked on the “ReelBlend” podcast about whether or not she saw Joss Whedon’s “Justice League” theatrical cut.

“I think that all of us DC directors tossed that out just as much as the fans did,” Jenkins said about Whedon’s “Justice League” theatrical cut. “But also, I felt that that version contradicted my first movie in many ways, and this current movie, which I was already in production on. So then, what are you going to do? I was like…you would have to play ball in both directions in order for that to work.”

Jenkins noted that she worked closely with Snyder to maintain a sense of character continuity for Diana Prince/Wonder Woman through “Wonder Woman,” Snyder’s “Justice League,” and the upcoming “Wonder Woman 1984.” Jenkins and Snyder mapped out where Diana would “sort of end up” by the end of the “Justice League” Snyder cut, thus allowing Jenkins to pick up with the character in “Wonder Woman 1984” in a natural way.

“I have to have my own films, and [Zack Snyder has] been very supportive of that,” Jenkins said. “And so, I think that that [Whedon’s ‘Justice League’] was kind of an outlier. They were trying to turn one thing into, kind of, another. And so then it becomes, ‘I don’t recognize half of these characters. I’m not sure what’s going on.’”

https://www.indiewire.com/2020/12/patty-jenkins-slams-whedon-justice-league-contradicts-wonder-woman-1234603680/

@Blue-Rose said:

A little hard to believe. How reliable is NY Times?

I don't know.

@Blue-Rose said:

Reuters

'Wonder Woman' director warns movie-going could become extinct (October 7, 2020)

“If we shut this down, this will not be a reversible process,” she said in an interview from her home in Los Angeles. “We could lose movie theater-going forever.”

PJ fears a shut down of theaters would be irreversible, but she doesn’t fear that the success of this new hybrid system can be irreversible too. She sold her fear for $10 mil. But if the new hybrid system is a success and other studios copy it and theaters die, she and GG will go down in history as the ones who helped promote it.

It’s all about the money, money, money.

Imagine a world without movie theaters.
Movie goers have no where to gooooooo.
A, ha, ha, ha, ha.
You may say I’m a pessimist.
But I’m not the only one.

I can imagine the headlines.

• Money Hungry Women Helped Kill Century Old Tradition Of Movie Theater-Going
  
• The Story Behind The Two Women Who Helped Kill Movie Theaters
  

After Deadline’s Frosty fake news and Forbes Kylie Jenner’s false billionaire announcement, I’m really skeptical about these online outlets.

Who do you think gave Forbes Kylie’s tax paper? Kylie and or her mom did that. Forbes doesn’t have access to that info or info about the amount of products she sold. The celeb has to provide that kind of info. They could lie, which turned out to be the case with Kylie. Well, that’s what Forbes claimed.

The funny part is that Kylie and her mom provided Forbes with the info because they wanted Forbes to put Kylie on the cover as the youngest self-made billionaire and then they act surprise like Forbes came to that conclusion on its own and thank Forbes for doing so on their socials.

@Triksy said:

Indiewire

Patty Jenkins ‘Tossed Out’ Joss Whedon’s ‘Justice League’: It Contradicted ‘Wonder Woman’

Jenkins noted that she worked closely with Snyder to maintain a sense of character continuity for Diana Prince/Wonder Woman through “Wonder Woman,” Snyder’s “Justice League,” and the upcoming “Wonder Woman 1984.”

I think that the continuity problems started with BvS. That’s before JW. Right now, it looks like good-hearted and loving WW thought coming back for a stupid pic of her dead lover was more important than coming back to help save Earth from Zod. And we also need to know why everybody in MOS thought SM was the first super being while many saw WW back in 1984.

@Triksy said:

New York Times

Trading Box Office for Streaming, but Stars Still Want Their Money

Last month, Warner Bros. quietly approached Hollywood’s two biggest talent agencies, William Morris Endeavor and Creative Artists. The studio wanted to release the much-anticipated “Wonder Woman 1984” simultaneously in theaters and on the streaming service HBO Max on Christmas Day. And they wanted to get the film’s star, Gal Gadot, and director, Patty Jenkins, on board with the plan.

WB doesn’t care about anybody. Disney didn’t send an MCU film to D+. BW will be released in May 2021. Instead of doing something similar, WB is sending its first DCEU hit to HBOM and theaters. As corona infections continues to rise, soon WW84 will be only on HBOM. Theaters in many Euro countries will close this week. WW84 will be shared illegally online.

R. Fisher

The following was relayed to me on behalf of @WarnerMedia at 5pm EST today:

• The investigation of Justice League is now complete.
  
• It has lead to remedial action.
  (Some we’ve seen, and some that is still to come.)
  

And this statement (which truly belongs to ALL who participated in the investigation): “WarnerMedia appreciates you having the courage to come forward and assist the company with creating an inclusive and equitable work environment for it’s employees and partners.

There are still conversations that need to be had and resolutions that need to be found. Thank you all for your support and encouragement on this journey. We are on our way. More soon.

https://twitter.com/ray8fisher/status/1337569670963015680

Over 80 people were interviewed for @WarnerMedia ’s Justice League investigation.

A fair, thorough, and protected process for witnesses was the first (and most important) step.

Ensuring that action is taken is the next.

Thank you to all who lent their voice!

A>E

https://twitter.com/ray8fisher/status/1337883886995578881

@AnnaB said:

WB doesn’t care about anybody. Disney didn’t send an MCU film to D+. BW will be released in May 2021. Instead of doing something similar, WB is sending its first DCEU hit to HBOM and theaters. As corona infections continues to rise, soon WW84 will be only on HBOM. Theaters in many Euro countries will close this week. WW84 will be shared illegally online.

WB thinks that corona is affecting only the US. It’s cold. Everybody’s inside now. It’s the flu season too. Why are they giving those who want to break the corona rules a reason to do so? Xmas is coming and people can’t celebrate the way they want. You can only invite four people max or so. Because we don’t have hundreds of deaths and thousands and thousands of infections everyday don’t mean it’s heaven here. It’s contained because people should leave the house if it’s strictly necessary. Still, only Americans get to choose whether they’ll watch WW84 in theater or on HBOM. Well, screw it! I won’t even buy the DVD or BR.

@Sue-Yin said:

The funny part is that Kylie and her mom provided Forbes with the info because they wanted Forbes to put Kylie on the cover as the youngest self-made billionaire and then they act surprise like Forbes came to that conclusion on its own and thank Forbes for doing so on their socials

The Jenners/Kardashians aren’t the only ones doing that.

Entertainment Weekly

Zack Snyder's Justice League might get R-rated theatrical release

"Here's one piece of information nobody knows: The movie is insane and so epic and is probably rated R — that's one thing I think will happen, that it will be an R-rated version, for sure," Snyder tells EW. "We haven't heard from the MPAA, but that's my gut."

Asked for details about what makes the new footage explicit, Snyder reveals, "There's one scene where Batman drops an F-bomb. Cyborg is not too happy with what's going on with his life before he meets the Justice League, and he tends to speak his mind. And Steppenwolf is pretty much just hacking people in half. So [the rating would be due to] violence and profanity, probably both."

Perhaps an even bolder move than a cussing Dark Knight is Snyder pushing for Warner Bros. to release his recut and supersized HBO Max film on the big screen in 2021, at a time when parent company WarnerMedia is trying to boost its nascent streaming service with as much exclusive content as possible. To be clear, a decision on whether to release the film theatrically has not yet been made, and Warner Bros. had no comment for this story. But Snyder has previously stated that adding a big-screen rollout along with the HBO Max release is his preference and now the director suggests steps are being taken in that direction.

"I'm a huge fan and a big supporter of the cinematic experience, and we're already talking about Justice League playing theatrically at the same time it's coming to HBO Max," Snyder says. "So weirdly, it's the reverse [of the trend]."

Warner Bros. is releasing every film on its 2021 slate on HBO Max at the same time as their theatrical release […]

Where did Snyder land on this polarizing issue? "It felt like a pretty bold move and that maybe the implication wasn't 100 percent thought out," he says. "I feel like there's a lot of people panicking during COVID. I hope that, in the end, that's what this was — some sort of knee-jerk to COVID and not some sort of greater move to disrupt the theatrical experience. I thought we were kind of already getting very close to the ideal theatrical window where you still had marketing material out there and you hadn't forgotten about the film by the time it came out on DVD or streaming. I thought we were starting to hone in on that sweet spot, but this kind of throws a monkey wrench in the works."

https://ew.com/movies/zack-snyders-justice-league-theaters-r-rated/

@Triksy said:

WION

Gal Gadot refused to film a sexualised scene in 'Justice League'; director Joss Whedon insisted and used a body double instead

Now a report has claimed that Gal Gadot refused to shoot a comic scene in which The Flash lands on her body in the middle of an intense fight sequence. Gadot felt that the scene sexualised Wonder Woman. Whedon, though persisted and when Gadot refused, he brought a body double to shoot the scene instead. 

Photographer Jason Laboy, who has worked with Fisher, tweeted, “Don’t forget to add that he locked her in a room and threatened her career if she didn’t do the scene. That is very important and should not be omitted.”

https://bit.ly/2CujCJn

Los Angeles Times

Gal Gadot knows this year was rough. She hopes ‘Wonder Woman 1984' will end it on a high

“It’s funny because we could’ve never anticipated when we shot the movie back in 2018 that it was going to be so relevant to now,” says Jenkins. 

“It’s so great that it’s Wonder Woman leading the way,” says Jenkins. “A lot of other great filmmakers have been messing around with other [heroes’ stories], and that’s awesome too, but I’m so happy for her success and for getting to [direct] it.

“What I find interesting about her is that she and Superman are the OG, true north, very simple superheroes,” she adds. “They are people with superpowers [who are] here to save the day. All of the other superheroes that came after had some slant or angle that separated them. And so I think that was something that was strangely missing with so many superhero movies. None of them were very simple in that way. I loved getting to do that with her.”

Originally introduced by director Zack Snyder in 2016’s “Batman v. Superman: Dawn of Justice,” Gadot’s Wonder Woman will next be seen in Snyder’s cut of “Justice League,” which will be released as a four-part miniseries on HBO Max early next year.

The theatrical version of “Justice League,” which was completed by director Joss Whedon after Snyder had to step back for personal reasons, opened a few months after “Wonder Woman” but was roundly dismissed by critics and audiences alike. The disappointment turned into something even more serious over the summer when Gadot’s “Justice League” co-star Ray Fisher spoke out about “gross, abusive, unprofessional and completely unacceptable” treatment by Whedon during production.

Although she declined to elaborate further, Gadot acknowledged she had her own “experience” with the director, which was resolved to her satisfaction. “I’m happy for Ray to go out and speak his truth,” says Gadot. “I wasn’t there with the guys when they shot with Joss Whedon — I had my own experience with [him], which wasn’t the best one, but I took care of it there and when it happened. I took it to the higher-ups and they took care of it. But I’m happy for Ray to go up and say his truth.”

https://www.latimes.com/entertainment-arts/movies/story/2020-12-17/gal-gadot-wonder-woman-1984

@Triksy said:

Los Angeles Times

Gal Gadot knows this year was rough. She hopes ‘Wonder Woman 1984' will end it on a high

Although she declined to elaborate further, Gadot acknowledged she had her own “experience” with the director, which was resolved to her satisfaction. “I’m happy for Ray to go out and speak his truth,” says Gadot. “I wasn’t there with the guys when they shot with Joss Whedon — I had my own experience with [him], which wasn’t the best one, but I took care of it there and when it happened. I took it to the higher-ups and they took care of it. But I’m happy for Ray to go up and say his truth.”

Good that she took care of it there when it happened and it was resolved to her satisfaction. But the higher-ups she’s referring to sounds like above the, let’s say, the HR department. So, is she implying that RF didn’t go to these higher-ups? Or, is she implying that, unlike RF, she had enough "star power" to go to these higher-ups?

@Triksy said:

WJS

Warner Bros. to Release All 2021 Films on HBO Max and in Theaters Simultaneously

The strategy covers all 17 movies scheduled for release by the studio next year, including big-budget films such as the science-fiction adaptation “Dune” and a new installment in the “Matrix” franchise [The Suicide Squad, Space Jam: A New Legacy, Godzilla vs. Kong, Mortal Kombat, The Conjuring: The Devil Made Me Do It, In the Heights, The Many Saints of Newark, The Little Things, Cry Macho, Tom & Jerry, King Richard, Judas and the Black Messiah, Those Who Wish Me Dead, Reminiscence, Malignant]. HBO Max will host the movies for only their first month of theatrical release before the films follow their usual distribution pattern.

J. Momoa

“Dune” is by far the best movie I’ve ever made. My team and I devoted more than three years of our lives to make it a unique big screen experience. Our movie’s image and sound were meticulously designed to be seen in theaters.

I’m speaking on my own behalf, though I stand in solidarity with the sixteen other filmmakers who now face the same fate. Please know I am with you and that together we are strong. The artists are the ones who create movies and series.

I strongly believe the future of cinema will be on the big screen, no matter what any Wall Street dilettante says. Since the dawn of time, humans have deeply needed communal storytelling experiences. Cinema on the big screen is more than a business, it is an art form that brings people together, celebrating humanity, enhancing our empathy for one another — it’s one of the very last artistic, in-person collective experiences we share as human beings.

Once the pandemic is over, theaters will be filled again with film lovers. That is my strong belief.  Not because the movie industry needs it, but because we humans need cinema, as a collective experience.

So, just as I have both a fiduciary and creative responsibility to fulfill as the filmmaker, I call on AT&T to act swiftly with the same responsibility, respect and regard to protect this vital cultural medium. Economic impact to stakeholders is only one aspect of corporate social responsibility. Finding ways to enhance culture is another. The moviegoing experience is like no other. In those darkened theaters films capture our history, educate us, fuel our imagination and lift and inspire our collective spirit. It is our legacy. Long live theatrical cinema!

—Denis Villeneuve

https://www.instagram.com/p/CIqY4V3j_jJ/

@Blue-Rose said:

Good that she took care of it there when it happened and it was resolved to her satisfaction. But the higher-ups she’s referring to sounds like above the, let’s say, the HR department. So, is she implying that RF didn’t go to these higher-ups? Or, is she implying that, unlike RF, she had enough "star power" to go to these higher-ups?

I don't know. Remember, English is not her language.