Caleb Landry Jones quietly continues to be in everything, joins Jim Jarmusch’s zombie movie

Read on: The A.V. Club.

Over the last couple years, Caleb Landry Jones as subtly worked his way up to “hey, it’s that guy!” status with memorable appearances in Get Out, Twin Peaks, and Thrill Billboards Outside Ebbing, Missouri, which was a nice step up after his X-Men: Firs…

Having already made vampires hip, Jim Jarmusch is taking on zombies with Bill Murray

Read on: The A.V. Club.

Jim Jarmusch’s 2014 vampire movie Only Lovers Left Alive was a low-stakes romance, a salute to the timeless value of art rather than a horror story about blood-sucking killers, and now Variety is reporting that Jarmusch’s next project will be tackling …

Bill Murray, Adam Driver to Star in Jim Jarmusch’s ‘Dead Don’t Die’ for Focus Features

Read on: TheWrapTheWrap.

Bill Murray and Adam Driver are headlining Jim Jarmusch’s new zombie comedy “The Dead Don’t Die,” which is currently in production with Focus Features, the company announced Friday.

This is Jarmusch’s third film with Focus, having previously made “Broken Flowers” (2005) and “The Limits of Control” (2009) with the studio. Joshua Astrachan and Carter Logan will produce.

Murray, who plays a police officer named Robertson, previously told Philly.com, “I’ve got a good job coming up. Brace yourself: It’s a zombie movie. Jim Jarmusch has written a zombie script that’s so hilarious and it has a cast of great actors: Rosie Perez, Daniel Craig. It’s titled ‘The Dead Don’t Die,’ and it shoots over the summer. But, no, I will not play a zombie.”

Also Read: ‘Paterson’ Review: Jim Jarmusch, Adam Driver Deliver Ode to Small Pleasures

Chloë Sevigny, Academy-Award winner Tilda Swinton, Steve Buscemi, as well as Selena Gomez in her first Jarmusch feature round out the rest of the cast.

Focus Features and Universal Pictures International will distribute the film worldwide.

The filmmakers are represented by ICM Partners and Frankfurt Kurnit.

Related stories from TheWrap:

John Mayer Poses Shirtless, Tries to Kick-Start #KyloRenChallenge With Adam Driver Homage

‘Star Wars: The Last Jedi’: Adam Driver’s Shirtless ‘Beefcake’ Scene About ‘Intimacy,’ Says Director

Adam Driver to Star in Broadway Revival of Lanford Wilson’s ‘Burn This’

Robby Muller, ‘Paris, Texas’ Cinematographer, Dies at 78

Read on: TheWrapTheWrap.

Robby Muller, the Dutch cinematographer who worked with director Jim Jarmusch, Lars Von Trier, and Wim Wenders on films like “Repo Man,” “Paris, Texas,” and “Breaking The Waves” has died at the age of 78.

The news was first confirmed by Dutch publication Het Parool.

Muller, who had been suffering from vascular dementia, hadn’t shot a movie since Michael Winterbottom’s 2002 “24 Hour Party People,” which chronicled the rise and fall of Factory Records and the Manchester music scene of the late-1970s and 1980s.

Also Read: ‘Paterson’ Review: Jim Jarmusch, Adam Driver Deliver Ode to Small Pleasures

“Next to camera, light was his most important instrument,” his family said in a statement. “He loved natural light and could wait endlessly for the right light conditions.”

Additionally, Muller shot “Down by Law,” “Dead Man,” “Mystery Train,” and “Ghost Dog: Way of the Samurai” for Jarmusch. “Without him I don’t think I would know anything about filmmaking,” the director tweeted in response to the news of Muller’s death.

We have lost the remarkable, brilliant & irreplaceable Robby Müller. I love him so very much. He taught me so many things, & without him, I don’t think I would know anything about filmmaking. R.I.P. my dear friend Robby #RobbyMüller

— Jim Jarmusch (@JimJarmusch) July 4, 2018

Also Read: Harlan Ellison, ‘Twilight Zone’ and ‘Star Trek’ Writer, Dies at 84

“Generally, we tried to keep thinking on our feet, so anything was changeable,” Jarmusch said in 2016 about Muller. “He taught me later a lot about color, as well, and how it relates to your emotions, or how the sky at magic hour changes every 10 seconds and becomes a different shade.

Muller was nominated for three Indie Spirits and the American Society of Cinematographers honored Muller with the International Achievement Award in 2013.

Muller is survived by his wife Andrea and a son.

Related stories from TheWrap:

Focus Features Acquires Wim Wenders’ Pope Francis Doc ‘Man of His Word’

James McAvoy to Star in Wim Wenders’ Romantic Thriller ‘Submergence’

Sony Classics Buys Wim Wenders’ ‘Salt of the Earth’ Documentary

Robby Müller Dies: Cinematographer Of Classics From Wenders, Jarmusch, Von Trier Was 78

Read on: Deadline.

Dutch cinematographer Robby Muller, whose credits spanned such films as Repo Man; Paris, Texas; Breaking The Waves; and To Live And Die In LA, has passed away. His family told local media in Amsterdam that he died on Tuesday after a long illness. He wa…

Cate Blanchett Named Cannes Film Festival Jury President

Read on: TheWrapTheWrap.

Academy Award winner Cate Blanchett has been named the President of the Jury for the 71st Annual Cannes Film Festival.

The “Carol” and “Thor: Ragnarok” star will be the first female jury president since Jane Campion served in 2014.

Other women to take on the role this century include Oscar nominee Isabelle Huppert and Liv Ullmann. It is the 12th time in festival history a woman has headed the jury. Director, screenwriter and actress Jeanne Moreau served twice, with all others putting in one year each.

Also Read: Cannes Film Festival to Start One Day Earlier in 2018

“I have been to Cannes in many guises over the years; as an actress, producer, in the marketplace, the Gala-sphere and in Competition,” Blanchett said. “But never solely for the sheer pleasure of watching the cornucopia of films this great festival harbors.”

Festival leaders Pierre Lescure and Thierry Frémaux, General Delegate called Blanchett a “unique artist whose talent and convictions enrich both screen and stage. Our conversations from this autumn tell us she will be a committed President, a passionate woman and a big-hearted spectator.”

Blanchett succeeds 2017 jury president Pedro Almodovar in an already packed year. She’ll release the female heist reboot “Ocean’s 8” in June, then an already-buzzy leading role in Richard Linklater’s “Where’d You Go Bernadette” followed by Eli Roth’s “The House with a Clock in its Walls.”

Read the full announcement:

Australian actor Cate Blanchett is to be President of the Jury of the Festival de Cannes, the 71st edition of which will be taking place in May 2018.

“I have been to Cannes in many guises over the years; as an actress, producer, in the marketplace, the Gala-sphere and in Competition,” she declared, “but never solely for the sheer pleasure of watching the cornucopia of films this great festival harbours.”

Cate Blanchett follows Pedro Almodóvar, Jury President of the 70th edition, whose jury awarded the Palme d’or to The Square by Swedish director Ruben ?-stlund.

“I am humbled by the privilege and responsibility of presiding over this year’s jury,” she continued. “This festival plays a pivotal role in bringing the world together to celebrate story; that strange and vital endeavour that all peoples share, understand and crave.”

Pierre Lescure, Festival de Cannes President and Thierry Frémaux, General Delegate, said: “We are delighted to welcome such a rare and unique artist whose talent and convictions enrich both screen and stage. Our conversations from this autumn tell us she will be a committed President, a passionate woman and a big-hearted spectator.”

Cate Blanchett is one of those actors for whom performing is a permanent delight, whatever the role she takes to stage or screen. In film, always under the eye of great directors, she switches between independent ventures and lavish productions, and appears in the credits of all notable contemporary English-language cinema: The Lord of the Rings trilogy, by Peter Jackson, Benjamin Button by David Fincher, Babel by Alejandro González Iñárritu, The Life Aquatic by Wes Anderson, The Good German by Steven Soderbergh, Coffee and Cigarettes by Jim Jarmusch. To this non-exhaustive list, we must add Steven Spielberg, Terrence Malick, Sally Potter, Ridley Scott, Woody Allen and Todd Haynes.

When she is not on screen, Blanchett’s commitment to the theatre all over the world is palpable. Alongside her producing partner Andrew Upton, she was CEO and co-Artistic Director of the Sydney Theatre Company from 2008 to 2013 and Blanchett has won awards for her work on stage in New York, Washington, London, Paris (she performed in Jean Genêt’s The Maids alongside Isabelle Huppert, Jury President in 2009) and also in Sydney, of course, where she soared in Liv Ullman’s production of A Streetcar Named Desire.

In 2012, Blanchett was awarded the Chevalier de l’Ordre des Arts et des Lettres by the French Minister for Culture and also the Centenary Medal for Service to Australian Society, both for her significant contribution to the arts. In 2015, she was honoured with a Lifetime Achievement Award from the Australian Academy of Cinema and Television Arts before she was made a Companion in the Order of Australia in 2017.

Back on the screen, Blanchett won the 2014 Oscar for best actress for her performance in Blue Jasmine by Woody Allen. This award came in addition to the Oscar she was awarded in 2004 for best supporting actress in The Aviator by Martin Scorsese in which she played an unforgettable Katharine Hepburn – it is the first time that an actress has won an Oscar for playing another actress… who also won an Oscar.

Cate Blanchett was also nominated for her performance in Carol by Todd Haynes, a film that she co-produced and which was presented in competition at Cannes in 2015. And not forgetting that in 2008 she also received two Oscar nominations, best actress for Elizabeth the Golden Age by Shekhar Kapur (with whom she collaborated 10 years earlier in Elizabeth) and best supporting actress for I’m Not There by Todd Haynes (for which she won the best actress prize at the Mostra in Venice), making her one of only five actors in the history of the Academy to have been nominated for both categories in the same year.

Recently, Cate Blanchett was seen in the Marvel super-production Thor: Ragnarok and will be appearing in Ocean’s 8, the first chapter in an entirely female saga, produced by Warner and due to be released after Cannes, late spring 2018. In the same year, she will appear in the highly-anticipated film adaptation of Maria Semple’s Where’d You Go Bernadette, directed by Richard Linklater. She can then be seen in The House with a Clock in its Walls, directed by Eli Roth.

Cate Blanchett is also a Goodwill Ambassador for the United Nations High Commissioner for Refugees, where she focuses on issues of statelessness for refugees around the world.

The Festival de Cannes 2018 will take place from May 8th – 19th and, exceptionally, will open on a Tuesday and end on a Saturday.

Related stories from TheWrap:

‘Thor: Ragnarok’ Review: Cate Blanchett’s Campy Villainess Steals the Thunder

Cate Blanchett’s Lucille Ball Biopic Lands at Amazon Studios

‘Manifesto’ Review: Cate Blanchett Is Every Woman in Trippy Art Piece

‘Paterson’ Review: Jim Jarmusch, Adam Driver Deliver Ode to Small Pleasures

Read on: TheWrapTheWrap.

A small, cyclical film about the value of a small, cyclical life, Jim Jarmusch‘s “Paterson” is a perfect version of itself. His ode to small pleasures and the simple life comes in the form of a simple film that is a small pleasure.

With that in mind, be wary of breathlessly exuberant Cannes Film Festival buzz that will inevitably (and deservedly) follow — the feedback loop of contagious excitement runs the risk of overselling this very effective valentine to understatement.

As if he was writing a verse, Jarmusch tries to turn his film into a rhyme. In “Paterson,” Adam Driver plays Paterson, a bus driver in Paterson (New Jersey). And as with a poem, both film and character operate within a fixed structure. The film follows Paterson over a period of one week, where each day follows the same beats.

Also Read: Cannes Report, Day 5: ‘American Honey’s Portrait of Midwest Divides Critics; Carrie Fisher’s Furry Plus One

Every morning the man wakes up at 6:15 a.m., then walks his way through the outskirts of town on the way to the bus depot, where, as driver on line 23, he will spend his day weaving back through to the center. Later, he’ll have dinner with his wife, and head back out to walk his dog, ending up at the same small bar for a single beer and a lesson in local lore.

On every walk and quiet moment, Paterson writes. He writes free-form poems, inspired by sights and materials of his life. All of them, in one sense or another, are love letters to his wife (hey, if you were married to actress Golshifteh Farahani, you’d write love letters too), and all written freehand in a little pocket notebook the secret poet refuses to share with the world.

Jarmusch superimposes the words onscreen as soon as the poet comes up with them, an effect that collapse Paterson’s surroundings with Paterson’s words, suggesting that one could not exist without the other.

Also Read: ‘American Honey’ Cannes Review: It’s a Long Day’s Journey Into the American Night

Indeed, they cannot. And if “artists take inspiration from their lives” sounds like a less than scintillating revelation, might I remind you this film is about the practical, intuitive, the homespun. Plus, just because the film doesn’t have an overarching Theme, that doesn’t mean it has nothing to say.

Here, and in his previous film, the vampire mood piece “Only Lovers Left Alive”, Jarmusch interrogates his own aversion to the modern age. Where the vampires were tragic romantics, literal holdovers from Better Times, Paterson is just a technology-averse Luddite.

But Paterson isn’t celebrated for that — if anything, the film is constructed as a rebuke to his thinking. The closest thing he has to an arc is recognizing the value of owning a cell phone. A small revelation, to be sure, but in perfect in context and perfect in scope for this simple, and simply wonderful, film.

Related stories from TheWrap:

Cannes Report, Day 5: ‘American Honey’s Portrait of Midwest Divides Critics; Carrie Fisher’s Furry Plus One

‘Bright Lights’ Cannes Review: Carrie Fisher and Debbie Reynolds Documentary Is Very Funny, Brutally Honest

Cannes: Martin Scorsese-Robert De Niro Mob Drama ‘The Irishman’ Goes to STX for $50 Million

Oliver Simon, Daniel Baur Reorganize K5 Media Group (EXCLUSIVE)

Read on: Variety.

Oliver Simon and Daniel Baur have reorganized their production, sales and finance company K5 Media Group, whose slate includes foreign-language Oscar contender “Land of Mine.” Following the reshuffle, Simon and Oda Schaefer will head K5 Film, the production company, while Baur spearheads the sales company K5 Intl., with former sales chief Carl Clifton moving on… Read more »

Gotham Awards 2016: Complete Winners List (Updating Live)

Read on: TheWrapTheWrap.

The 2016 Gotham Independent Film Awards are taking place in New York on Monday night. TheWrap will update the winners as they are announced.

The show includes special tributes to actors Amy Adams and Ethan Hawke, director Oliver Stone and producer Arnon Milchan.

“Moonlight” was voted a special award for its ensemble cast.

Also Read: Oscar Race: 5 Actors Competing Against Themselves, From Amy Adams to Andrew Garfield (Photos)

The show is taking place at Cipriani Wall Street in New York City, and is hosted by Keegan-Michael Key.

In the 12 years since the Gothams have introduced the Best Feature category, the winner has gone on to win the Best Picture Oscar only three times – but all three of those have been in the last seven years, including the last two years in a row with “Birdman” in 2014 and “Spotlight” in 2015.

The nominees – winners indicated by *WINNER.

Best Feature
“Certain Women”
“Everybody Wants Some!!”
“Manchester by the Sea”
“Moonlight”
“Paterson”

Best Documentary
“Cameraperson”
“I Am Not Your Negro”
“O.J.: Made in America”
“Tower”
“Weiner”

Bingham Ray Breakthrough Director Award
Robert Eggers for “The Witch”
Anna Rose Holmer for “The Fits”
Daniel Kwan & Daniel Scheinert for “Swiss Army Man”
Trey Edward Shults for “Krisha”
Richard Tanne for “Southside with You”

Best Screenplay
“Hell or High Water,” Taylor Sheridan
“Love & Friendship,” Whit Stillman
“Manchester by the Sea,” Kenneth Lonergan
“Moonlight,” Story by Tarell Alvin McCraney; Screenplay by Barry Jenkins
“Paterson,” Jim Jarmusch

Best Actor
Casey Affleck in “Manchester by the Sea”
Jeff Bridges in “Hell or High Water”
Adam Driver in “Paterson”
Joel Edgerton in “Loving”
Craig Robinson in “Morris from America”

Best Actress
Kate Beckinsale in “Love & Friendship”
Annette Bening in “20th Century Women”
Isabelle Huppert in “Elle”
Ruth Negga in “Loving”
Natalie Portman in “Jackie”

Breakthrough Actor
Lily Gladstone in “Certain Women”
Lucas Hedges in “Manchester by the Sea”
Royalty Hightower in “The Fits”
Sasha Lane in “American Honey”
Anya Taylor-Joy in “The Witch”

Ensemble Cast Award
“Moonlight” *WINNER

Breakthrough Series – Long Form
“Crazy Ex-Girlfriend”
“The Girlfriend Experience”
“Horace and Pete”
“Marvel’s Jessica Jones”
“Master of None”

Breakthrough Series – Short Form
“The Gay and Wondrous Life of Caleb Gallo”
“Her Story”
“The Movement”
“Sitting in Bathrooms with Trans People”
“Surviving”

Related stories from TheWrap:

‘Zootopia,’ ‘Kubo and the Two Strings’ Lead Annie Awards Nominations

Beyonce Dominates Soul Train Awards 2016: Complete Winners List

‘Jackie,’ ‘Moonlight,’ ‘Manchester by the Sea’ Nominated for Best Film by Spirit Awards

Adam Driver’s Awards-Season Route Ranges From 17th Century Japan To New Jersey: Q&A

Read on: Deadline.

Meeting the tall, waivy-haired Adam Driver in person immediately brings to mind his most sublimely acerbic onscreen personas: Adam Sackler, the brooding boyfriend with the power to wrap Lena Dunham’s Hannah Horvath around his finger in Girls; or Kylo Ren, arguably the Star Wars saga’s most multi-dimensional villain.
It’s not that Driver hasn’t played nice guys before, but with his profile rising, we’re treated to his gentle side in Jim Jarmusch‘s Paterson.
As the title…

‘Moonlight’ Dominates Indie Box Office in Second Weekend

Read on: TheWrapTheWrap.

Barry Jenkins’ critical darling “Moonlight” topped the indie box office for its second weekend in a row as it expanded into 36 theaters.

Grossing an estimated $900,826, the A24 and Plan B film received the highest per screen average of the weekend with $25,023, bringing its total to $1.5 million so far.

Magnolia’s “Gimme Danger,” Jim Jarmusch’s documentary about the iconic rock band The Stooges, debuted to $44,025 from three locations, earning a per screen average of $14,675. The film has a strong 93 percent on Rotten Tomatoes.

Also Read: ‘Moonlight’ Breakout Star Ashton Sanders Still Hasn’t Met Brad Pitt

Foreign language romantic drama out of India, “Ae Dil Hai Mushkil,” made $2.1 million from 302 theaters for $7,070 per screen.

China Lion’s foreign language comedy “Mr. Donkey” — which earned warm reviews from the Los Angeles Times and the New York Times — opened to $81,350 from 20 theaters, bringing its per screen average to $4,068.

A24’s nicely reviewed documentary about the English rock band after which it’s named, “Oasis: Supersonic,” earned $16,559 from 14 locations, amounting to $1,183 per screen. It’s available now on-demand and on iTunes.

Also Read: 4 Reasons Why ‘Inferno’ Flamed Out at the Box Office

Finally, Bow and Arrow’s crime drama “Shangri-La Suite,” bowed to $13,344 from 25 locations for a low per screen average of $534.

Related stories from TheWrap:

‘Moonlight’ Review: Barry Jenkins Tracks a Tragic Childhood in Powerful Film

‘Manchester by the Sea,’ ‘Moonlight’ Lead Gotham Awards Nominations

‘Moonlight’ Director Barry Jenkins on ‘Honest, Organic’ Stories of Black Struggle (Video)

‘Moonlight’ Debuts to Rapturous Applause, Tears in Emotional Screening at Toronto Film Festival