Cinematographer Roger Deakins feels every movie has its own set of challenges, whether it be the budget or time to pull off shots. However, for his latest film “Sicario,” the legendary DP told Business Insider there was a part of the movie in particular that was one of the hardest he’s had to pull off.

The movie follows FBI agent Kate Macer (Emily Blunt) as she’s thrust into the intense drug war on the Mexico/US border.

In one scene Macer and “consultant” Alejandro (Benicio Del Toro) are part of a convoy that goes into Mexico to pick up a major player in the Mexican drug trade and transport him back across the US border for questioning.

With beautiful aerial shots mixed with tight shots of the black SUVs driving close together as they speed through the narrow streets of Juarez to pick up its prisoner, the sequence is filled with tension as the convoy is on the lookout for anyone that might take them out.

Things get serious after the convoy picks up their man from a Mexican prison and try to cross the border back to the US. Stuck in gridlock at the border, the team spot numerous cars planning to ambush the convoy and reclaim the prisoner.

With Alejandro at the lead, the teams leave their vehicles and take out the targets, to the shock of Macer.

Deakins told Business Insider that it was unknown if they’d get permission to shoot in Mexico City (which doubled for Juarez), but finally towards the end of production they got the okay, leading them to scramble to get the shots they needed.

“That was such a jigsaw of how the hell we were going to shoot it,” said Deakins, noting the complexity or aerial shots of the real Mexican border and the convoy on the streets of Mexico City that had to match the scenes they did on set, like the shootout at the border.

Shot over five days, the shooting locations constantly changed. Deakins recalls how difficult it was to shoot the exterior of the Mexican jail where the convoy picks up their prisoner.

“[Director] Denis [Villeneuve] and I fell in love with this location and the night before we were going to shoot we were told, ‘We think you can shoot there,’” Deakins recalled. “So we all showed up that morning and it was all negations but we got permission about five minutes before we shot it.”

He added, “It was quite an amazing experience. But it was particularly tight to do this one.”

“Sicario” is currently playing in limited release and opens everywhere October 2.

Watch the trailer:

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In the opening scene of 'The Martian,' a sci-fi thriller movie lauded for its realism, a colossal dust storm threatens to tip over the only rocket a group of astronauts can ride home. So they decide to abandon their mission and evacuate.

As soon as they step out into the storm to make a break for their spacecraft, they're plunged into darkness and powerful winds:

The winds are so strong they break off a satellite dish, which strikes the film's main character, Mark Watney (played by Matt Damon), and drags him away from the group:

With Watney lost and the spacecraft swaying dangerously, the crew takes off.

The dust storm scene is an intense and exciting start to a highly anticipated blockbuster by director Ridley Scott.

It's also completely unrealistic.

Dust storms routinely sweep across the planet, but the atmospheric pressure of Mars is about 1% that of the Earth's. This means the air on Mars is simply too thin for the wind carry much force or do any damage, Jim Greene, NASA's planetary science director, told The New York Times.

"If standing on Mars, a 100 mph wind would feel like someone was throwing a bag of feathers at you," Jim Bell, a scientist who works with NASA's Mars rovers, told Forbes.

It may come as a surprise that Andy Weir, the author of the sci-fi novel that Scott adapted, knew the scene was pure fiction. In a Q&A at the end of the book, Weir explains that he wanted to make the story as scientifically accurate as possible, but he needed the dust storm at the beginning to get the plot moving.

Weir further hashed out his reasoning to Nautilus in January:

That was a deliberate concession I made, because I just thought it was more dramatic to have him get stranded by a weather event. It kind of plays well into the theme of it’s him versus Mars, and it starts off with Mars smacking him around. But realistically, that could not possibly happen.

With so much meticulous research and attention to scientific detail throughout the rest of the book, we'll forgive Weir and Scott for taking a little creative liberty here. It is a science fiction story, after all, and the scene in the movie looks really, really cool.

"The Martian" is now open in theaters everywhere.

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When Andy Weir published his sci-fi novel "The Martian," readers praised his attention to detail and scientific accuracy. It's arguably the reason the book became a bestseller and, now, a blockbuster movie.

If you want to know what parts of the story screenwriter Drew Goddard and director Ridley Scott chose to leave out, we have your answers.

Weir told Tech Insider that Goddard and Scott incorporated his feedback into the script. But Weir said he was disappointed the movie left out Watney's first line in the book: "I'm pretty much f***ed."

"I guess there's only so many F-bombs you can drop in a PG-13-rated movie," Weir joked.

Although more of the book stayed intact than we expected, the movie version does leave out some cool and nail-biting scenes in the novel.

Keep scrolling to see some of the best moments the film's producers missed.

Warning: Spoilers ahead if you haven't read the book or seen the movie.

The film adaptation of "The Martian" keeps the bulk of the beloved science-heavy plot intact.

But it does skip some important scenes and details in the book.

1. Like when Watney realizes he's accidentally turned his Mars hab into a bomb, due to some miscalculations in his turn-rocket-fuel-into-water formula.

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Former Apple CEO John Sculley said this scene in the new Steve Jobs movie gave him goosebumps — via @TechInsiderFormer Apple CEO John Sculley said this scene in the new Steve Jobs movie gave him goosebumps — via @TechInsiderFormer Apple CEO John Sculley said this scene in the new Steve Jobs movie gave him goosebumps — via @TechInsider

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What will happen next year when The Man of Steel goes up against The Dark Knight? Astrophysicist and 'StarTalk Radio' host Neil deGrasse Tyson explains how Batman can compete against Superman.

Produced by Darren Weaver and Kamelia Angelova. Additional production by Kevin Reilly and Rob Ludacer.

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StarTalk Radio is a podcast and radio program hosted by astrophysicist Neil deGrasse Tyson, where comic co-hosts, guest celebrities, and scientists discuss astronomy, physics, and everything else about life in the universe. Follow StarTalk Radio on Twitter, and watch StarTalk Radio "Behind the Scenes" on YouTube.

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At one point in his career, Norman Reedus may not have let something like cutting his hair get in the way of a movie role. Especially not in 2005, when he thought his acting career was over after mangling his face in a car accident in Berlin.

“I was thinking, I’ll never act again. It’s over,” Reedus told Details magazine.

But that was before he scored the role of Daryl Dixon on AMC's "The Walking Dead."

For example, he found out that he would be passed over for a role in "Tomorrowland" playing George Clooney's father if he didn't cut his hair.

He said: “I was like, ‘Don’t they know I’m on a TV show?’

Reedus suggested that they he could use a bald cap and a hairpiece for the role. He couldn't cut his hair, because he had to stay consistent to Daryl.

“It went down to the last minute, and everyone knew I couldn’t cut my hair," Reedus, 46, recounted. "Then, I think the director, Brad Bird, threw a fit and was like, ‘If he’s not dedicated to this role and he can’t cut his hair, then it’s not going to work.’ I’m on a f-----’ TV show! I can’t just shave my head!”

In the end, he may have been better off.

Although "Tomorrowland" grossed $209 million worldwide, The Hollywood Reporter reports that it cost $330 million to produce and market. So it seems to have lost as much as $140 million.

It also didn't impress critics. Its Rotten Tomatoes score is 50%, and it's a 60% on Metacritic. 

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Astronauts, engineers, and fans have praised the "The Martian," a bestselling sci-fi novel, for its scientific accuracy. So if you're making an equally realistic film adaptation, your spacesuits had better look good.

That's why Janty Yates, a costume designer for Ridley Scott's movie "The Martian," worked directly with NASA to create spacesuits used in the film.

"Of course we made a film rather than sending people to space," Yates joked to Tech Insider.

The story follows Mark Watney, an astronaut who gets stranded on Mars. Matt Damon (who plays Watney) and other actors in the movie adaptation had to spend a lot of time dressed up in their suits to make the story come to life.

As a result, Yates had to build spacesuits that clearly showed the actors' faces, were comfortable enough to wear during hours of filming (sometimes in the desert), and didn't look like hokey, unbelievable imitations. Real spacesuits are "marvelously practical for space travel, walking and working on Mars," she says, "but they're not practical from a visual sense."

Keep scrolling to see how Yates and others designed two different types of futuristic-looking yet functional spacesuits used in "The Martian," due in theaters October 2.

You'll see two different types of spacesuits in "The Martian." First are these bulky white suits that the actors wear for space travel scenes:

Director Ridley Scott called these ones the "Mr. Dough Boy suits," according to Yates.

Here's the real thing — NASA's external mobility unit spacesuit — for comparison. The costume suits look very similar.

Comic Con is the premiere event where comic and movie fans get together and show off the cosplay costumes they have been working on all year. Cosplayer Thomas DePetrillo from Extreme Costumes blew the crowds away when he showed off his 9.5-foot-tall Iron Man Hulkbuster costume.

Produced by Darren Weaver. Original reporting by Kirsten Acuna. 

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Turns out more people wanted to take a rocket to Mars than head to Neverland via pixie dust. 

Warner Bros.' "Pan,"— an origin story of the boy who never grows up starring Hugh Jackman and Rooney Mara — had a disappointing opening weekend in theaters. Estimates have its three-day total over the Columbus Day weekend at an awful $15.3 million, according to The Wrap (the film has an estimated budget of around $150 million).

With only a 23% score on Rotten Tomatoes and a measly $5.1 million take on Friday, according to Deadline, "Pan" looks like it's going to be a bust for the WB, coming in third place for the weekend.

But over at 20th Century Fox things are different. In its second weekend the sci-fi adventure "The Martian" is exceeding expectations with an estimated $37 million as of Sunday, according to The Hollywood Reporter.

That gives the Matt Damon-stranded-on-Mars adventurer the top spot at the box office for a second straight week.

Things are also good for Sony's animated "Hotel Transylvania 2." The kids comedy featuring the vocal talents of Adam Sandler and Selena Gomez came in second place with an estimated $20 million, according to The Wrap. 

It's now the first autumn release to surpass the $100 million domestic box office mark.

The weekend also had another landmark. "Steve Jobs" opened in four theaters over the weekend with an estimated $521,000 (per screen average of $130,236), according to THR, making the loose biopic on the Apple cofounder the year's biggest limited release, according to Variety.

SEE ALSO: "Science as a religion": The screenwriter of "The Martian" tells us his key demand for the film

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Warning: Spoilers ahead

In the new movie "Steve Jobs," a major theme is Apple cofounder Steve Jobs' relationship with his daughter, Lisa Brennan-Jobs.

For Aaron Sorkin, the film's screenwriter, meeting Brennan-Jobs before writing the script was invaluable. And it's an interview even Walter Isaacson couldn't secure for his Jobs-approved biography.

"At first I didn't know what I was looking for," Sorkin told Business Insider, hours before the film premiered at the New York Film Festival. "Lisa didn't speak to Walter Isaacson when Walter was writing the book ["Steve Jobs"] because her father was alive at the time. But she was willing to speak to me. She was able to tell stories about her father that weren’t necessarily flattering stories, but she would tell the story and then show me how you could see he really did love her."

Sorkin said hearing her tell those stories made him want to have a major part of the film be about the father-daughter relationship.

Brennan-Jobs is featured in all three parts of the film, which looks at the launch of the Macintosh, Jobs' NeXT, and the iMac. In a heartbreaking sequence in the first act, Jobs (played by Michael Fassbender) rants that Brennan-Jobs is not his daughter and that the Apple Lisa was not named after her.

Both "Steve Jobs," directed by Danny Boyle, and "Steve Jobs: The Man In The Machine," the recently released documentary by Alex Gibney, spend time looking at Jobs' relationship with his daughter.

When Jobs launched Apple, he denied he was Lisa's father, even when a court-ordered DNA test proved that he was.

Jobs gave only $500 a month to Lisa's mother, Chrisann Brennan, for child support — even though he was worth more than $225 million.

But, according to the Gibney documentary, by Jobs' death in 2011 the two had a better relationship.

Sorkin, however, did acknowledge to Business Insider that if Jobs were still alive, Sorkin would ask him to truthfully answer this question about his daughter:

"I would ask, 'Why do you pretend you didn't name the computer after Lisa?' I can't fathom," Sorkin said. "Any other father, if they hadn't named it after their daughter would lie and say they did. I just can't fathom it."

"Steve Jobs" opens in theaters on Friday.

SEE ALSO: Aaron Sorkin and Danny Boyle reveal how they made 'Steve Jobs'

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Warning: Spoilers ahead

In the summer of 1974 French highwire artist Philippe Petit gained notoriety when he walked on a wire between the Twin Towers in New York City.

The remarkable feat has been adapted into a children’s book, an Oscar-winning documentary and now a 3D Hollywood blockbuster.

“The Walk” looks back on Petit’s “coup,” as he called it, to get to the roof of the towers illegally to do his highwire act. It involved years of planning with a group of others and training, also dressing up as construction workers with fake identification cards so they could get into the building.

But Petit did point out to Business Insider a little movie magic that “The Walk” director Robert Zemeckis threw in there to build the drama.

“There are a few things that didn’t happen and are going against the spirit of who I am,” said Petit.

The specific moment he points out is towards the end of Petit’s (played by Joseph Gordon-Levitt) walk on the wire between the towers where he briefly loses his balance and the wire begins to shake as he’s about to give himself up to police.

“That did not happen. That could not happen,” Petit told Business Insider. “It’s what we call Hollywood. I’m not going to make a big thing, because that and other little details are things no one will pick up on except for me. It’s not exactly my adventure. I see it as a creative freedom from the point of view of the storyteller. It doesn’t bother me.”

Petit has been a huge supporter of the film, appearing on the red carpet when it premiered at the New York Film Festival and even training Gordon-Levitt how to walk the wire. 

“The story tells the tale with the right spirit,” said Petit.

“The Walk” opens in theaters nationwide on Friday.

SEE ALSO: The 3D effects in "The Walk" are so insane, some people have gotten physically sick in the theater

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We saw a lot of great cosplay at the 2015 New York Comic Con — including at 9-foot-tall 'Iron Man' costume. Here are the best costumes that we saw this year.

Produced by Darren Weaver. Original reporting by Kim Renfro and Kirsten Acuna.

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We saw a lot of great cosplay at the 2015 New York Comic Con — including at 9-foot-tall 'Iron Man' costume. Here are the best costumes that we saw this year.

Produced by Darren Weaver. Original reporting by Kim Renfro and Kirsten Acuna.

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Robin Williams played a lot of roles, one of the most memorable being the Genie from "Aladdin"— one of Disney's most classic animations.

Now, Disney has released footage and never-before-seen stills of the late Williams in this iconic role from the 1992 film, which will be released on Blu-ray on October 13.

On a segment with "Good Morning America," John Musker, the co-director and co-writer of "Aladdin" said the writers had Robin Williams in mind while they wrote the part of the Genie — though they had no idea if he'd agree to play the role. 

Here's the whole segment:

Here are some of the stills and footage:

"We were totally walking down the plank," Musker admitted on GMA. "If he said no, we were going to be in big trouble because the whole concept [of the Genie] was built around Robin."

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In 1990 Tim Burton was at the peak of his creativity. He had burst through Hollywood’s doors with the playful “Pee-wee’s Big Adventure” five years earlier, then followed that up with two vastly different —and equally great — movies, “Beetlejuice” (1988) and "Batman" (1989).

In ’90 Burton would team with Johnny Depp for the first time with “Edward Scissorhands,” in which Depp plays a gentle boy with scissors for fingers who must adapt to a new life when his creator dies.

Like his previous work, Burton thrusts us into a bizarre world of fantasy and unique characters that delivers a different kind of melodrama.

Production designer Bo Welch had worked with Burton previously on “Beetlejuice,” so he was aware of the director’s style and aesthetic desires. But that didn’t prepare him for what Burton wanted to take on in this project.

Welch told Business Insider thinking back on Edward walking in Kim’s (Winona Ryder) neighborhood is still edged in his brain 25 years after the movie came out.

“The friction between Edward’s look and the neighborhood, that we altered severely, just gives me infinite joy,” Welch said. “I don’t know if I’ve ever seen it again.”

Welch said the script had little detail of how the neighborhood should look. But he and his team began looking at neighborhoods around the US, mostly in Texas and Florida, and came across a new development of homes in a suburb of Tampa. Basically a blank canvas that Welch and Burton could create what they liked.

“This neighborhood in Florida also had a particular graphic quality, and interesting skies with its clouds.”

They went down to the neighborhood and completely stripped it down. Repainted the houses with vibrant colors.

They stripped out the existing plant life and replaced it with the interesting foliage that Edward would craft later in the movie with his unique fingers.

“It clearly represents a suburban neighborhood of a distinct era, but mainly to Edward it’s exotic and beautiful and beyond words,” Welch explained.

The motivation for this look, said Welch, came from the place Edward previously called home. He lived in a dilapidated castle with his creator (Vincent Price) high on a mountain at the end of the neighborhood, isolated from the rest of the world.

But Welch admitted, at first he didn’t get it.

“When I first read the script I said to Tim, ‘So, this is how this is going to look? The castle and neighborhood are going to coexist?’ And he said, ‘Yes,’” Welch recalled.

“That’s the beauty of working with Tim,” Welch continued. “He would lead you to these places that were counter-intuitive. It was mindblowingly gratifying.”

Welch had a similar experience with Butron while looking for the shopping mall that would double as the downtown area in the film.

“I couldn’t find something that would fit into the equation,” said Welch. “One day Tim and I got into a car and were driving around Tampa when we came to this old shopping center you would look and think, ‘Oh God, that’s weird.’ But Tim looked at it and was like, ‘This is it!’"

The location was the Southgate Shopping Center in Lakeland, which sports unusual arches and a tacky strip-mall design.

“That’s where Tim sees things that none of the rest of us can see,” Welch said.

Much of the neighborhood and downtown scenes were shot on location, except for the interior scenes which were done on a soundstage.

Looking back on it, Welch sees his time on "Edward Scissorhands" as a forgotten era in moviemaking, before computer graphics took over and everything had to be built with real materials by carpenters and set designers.

“I think the closest thing now is a Wes Anderson movie,” said Welch. “Where the production design and the art direction is an integral part of the entertainment experience. Thinking of ‘Edward Scissorhands,’ a nostalgic wave washes over me.”

The 25th Anniversary Blu-ray edition of “Edward Scissorhands” goes on sale Tuesday.

SEE ALSO: Disney just released never-before-seen footage of Robin Williams at the Genie in 'Aladdin'

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Robert Redford has never been shy about speaking his mind, whether the topic is politics, the environment, or the state of the movie industry.

Although the actor still shows up occasionally in the big-budget Hollywood movie — most recently "Captain America: The Winter Soldier"— for the most part he has been dedicated to helping filmmakers tell important stories that the Hollywood system won't touch.

Redford created the Sundance Film Festival, which has become the preeminent American film festival for independent filmmakers. He also stars in works by burgeoning talents.

His latest role in the movie "Truth" is a perfect example. In it, Redford plays Dan Rather during his controversial "60 Minutes" report on President George W. Bush's military record, which led to Rather stepping down as the anchor of "CBS Evening News."

Directed by first-time filmmaker James Vanderbilt — known best for his screenplays "Zodiac" and "The Amazing Spider-Man"— the independently financed movie, which also stars Cate Blanchett, is one that a studio would have nothing to do with now.

But in the 1970s, studios weren't shy to do button-pushing dramas. Redford starred in a few of them, like "Three Days of the Condor" and "All the President's Men."

What happened?

"Through the '60s and '70s, I enjoyed being able to do a large film and also at the same banner do a small film that I wanted to make," Redford told Business Insider during a press day for "Truth."

"I was very happy to do a larger film — either it was something that I liked or the larger films were good. But something changed in 1980. Hollywood became centralized and [the studios] were going to follow the youth market because that's where the money was. They weren't going to make these films that were more humanistic in nature and that's what made me want to start Sundance, to keep that alive."

Movies like "Jaws" and "Star Wars" made Hollywood completely change how it looked at the business. With "The Empire Strikes Back," and "E.T. the Extra-Terrestrial" on the horizon, the modestly budgeted drama would no longer have a place at the studio level.

Today, dramas at studios are mostly extinct — outside of a story that has awards-bait and a major star attached — with the focus firmly on big-budget blockbusters and, most recently, comic-book adaptations.

To Redford, it's simple.

"They're following the money," he said.

"Truth" opens in select theaters Friday.

SEE ALSO: Aaron Sorkin and Danny Boyle reveal how they made 'Steve Jobs'

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Quentin Tarantino's next movie "The Hateful Eight" is already being touted as a movie lover's ultimate experience as it will be shown in lush 70mm photography. 

But it also sounds like you'll get the chance to see a longer version.

Speaking to Variety, Tarantino divulged that audiences who go to the limited roadshow engagement of the film, which will feature an overture and intermission, will watch a cut of the movie with six extra minutes of material. 

"It will be three hours, two minutes," the Oscar-winner told Variety. "The multiplex version is about six minutes shorter, not counting the intermission time, which is about 12 minutes."

Tarantino described the sequence that gets the added six minutes as being "big, long, cool, unblinking takes," in the 70mm version.

The film will be doing its two-week roadshow starting on Christmas Day, will all those theaters showing it in 70mm. Dates/locations have yet to be announced.

It will then play nationwide on all screens starting January 8.

Here's the trailer:

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The Volkswagen scandal is heading to the big screen.

Paramount and Leonardo DiCaprio's Appian Way have acquired the rights to a book proposal by Jack Ewing.

Ewing's book will investigate how a "more, better, faster" ethos fueled one of the greatest frauds in corporate history. The German car company had programmed their  diesel cars so that U.S. standards emissions were met only when the car was undergoing emissions testing. On the road, emissions rates were up to 40 times higher.

The scandal has shaken the automobile industry and led to the resignation of CEO Martin Winterkorn.

Ewing's untitled book, pitched as the "Too Big To Fail" of the auto industry, inked a mid-six figures book deal with Norton earlier in October.

DiCaprio and Jennifer Davisson will produce via Appian Way.

Shari Smiley of The Gotham Group repped the book. 

SEE ALSO: A massive Volkswagen recall is coming in January

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Warning: Spoiler ahead

Philippe Petit became famous around the world for walking a high wire between the Twin Towers in 1974.

Robert Zemeckis' new movie “The Walk” depicts his incredible feat. And though Petit admits some things in the movie didn’t happen he confirms one of the most bizarre moments in the movie really did.

At the end when Petit (played by Joseph Gordon-Levitt) is about to get on the wire to begin his walk a man in a suit appears on the roof.

Petit and his accomplice are dumbfounded and stare right at him as the man stands looking at the horizon.

Then Petit and the man lock eyes. Petit grabs a metal pipe, just in case he has to fight off the man. The man nods and walks back into the building.

Petit told Business Insider that to this day he has no clue who the man was.

“That really happened and this guy could have made the whole thing collapse,” Petit said. “He could have grabbed me and called the cops. It was a miracle that he left and he came mysteriously.

Petit wrote about the mysterious visitor in his book “To Reach the Clouds: My High Wire Walk Between the Twin Towers” (which has since been retitled “The Walk”).

In it, Petit gives more detail about what he was thinking at that moment:

“Guided by a frighteningly unconscious impulse, I find myself walking toward the visitor. He keeps walking toward me. We are walking toward each other. Thirty feet. I keep walking. It is a duel. Twenty feet. I am looking at him in the eyes. My chin is up. I feel strong. I am no afraid. Ten feet. I keep walking. I have fire in my eyes. I’m invincible. My dream is invincible. I see a short metal pipe on the floor; I slow down and pick it up. I’m not brandishing it. I’m just…

The man has stopped.

He is no longer at me. He is admiring the site with calm assertion, as if he needs to communicate his desire to avoid confrontation. Has he felt an intangible electricity in the air, a portent of doom?

The mysterious visitor — probably a businessman who works in the tower and wants to admire dawn before going to his desk — leaves my roof as he appeared, slowly and peacefully.

I take it there will be no duel today.

Except the one scheduled between the void and me, where it is written — I wrote it — “Both sides will survive.”

“The Walk” is now playing in theaters.

SEE ALSO: Joseph Gordon-Levitt learned to walk the high wire for "The Walk" from the real person he portrays in the movie

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NOW WATCH: The story of Lisa Brennan-Jobs, the daughter Steve Jobs claimed wasn't his

Ben Foster went to extreme lengths to take on the role of Lance Armstrong in Stephen Frears' “The Program,” admitting just a few weeks ago that he took performance-enhancing drugs as part of his research.

But speaking to the BBC at the BFI London Film Festival, where the film had its European premiere, the actor said he felt the drugs had "definitely damaged" his body, even though he took them in a "contained, doctor-supervised manner."

Foster wouldn't name the drugs he took, except to say that they were "all legal," or for how long he tried them.

"Go faster, go longer, go stronger. That's why you take them. And they took drugs because they work. But they also can damage the body very long-term and in very serious ways," he said. "I had a great doctor, which helped me handle some of those consequences. But it took about half a year to get my levels right, and I would say for any athlete, you have to ask, 'Where are your values?' "

According to the BBC, Frears himself was unaware of Foster's drug-taking and only found out two weeks ago.

"The Program," a StudioCanal/Working Title production, is set for release in the U.K. on Friday. In the U.S., it has been picked up by eOne's Momentum Pictures and is slated for a 2016 release.

SEE ALSO: The best cosplay from New York Comic Con 2015

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