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The new Spider-Man Tom Holland says he'll be in a total of 6 Marvel movies

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tom holland spider manWe're still living off the giddy delight of seeing Tom Holland as Peter Parker/Spider-Man in Captain America: Civil War, but there's much more Spider-Man to look forward to in the Marvel Cinematic Universe.

We're getting Spider-Man: Homecoming in July, of course, but Holland's tenure as Spidey will continue on past his debut feature. How many MCU films has the young British actor signed on for?

That would be six, according to The Hollywood Reporter. Three solo Spider-Man movies and three other appearances. Of those six, two have already been filmed: the aforementioned appearance in Civil War and the upcoming Spider-Man: Homecoming, which we continue to gather all the information we can about. 

Will it be hard to fit all of those MCU flicks into Holland's busy schedule? According to the actor:

They give you options and those could be exercised whenever. Like a cameo in Avengers. I'm unclear as to which movies though. I do know I have three Spider-Man [appearances in other] movies and three solo movies contracted. But if you have another movie, Marvel is so good at working around it. They're very respectful of your life, really. They understand that you have to work on other movies, and they try and fix it up so you can work around each other.

Well, that's sweet. Marvel is one of the biggest franchises in the world with some of the biggest stars, so I'm always happy to hear they're not keeping their actors locked away in some undisclosed location between blockbusters. Besides, Holland's got a prolific career going for a 20-year-old. We even went so far as to write up five of his most impressive roles so far. Kid doesn't just sit around and wait for things to happen.

This is probably why he canflip through the air like he is actually Spider-Man.

SEE ALSO: The new Spider-Man just shared a selfie from the set of his upcoming movie

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Tencent is ready for Hollywood action

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US China Box Office RevenueThis story was delivered to BI Intelligence "Digital Media Briefing" subscribers. To learn more and subscribe, please click here.

Tencent is attempting to grow its presence in the global entertainment business by pouring at least 2 billion yuan ($295 million) into Hollywood and Chinese films over the next two years, Bloomberg reports.

Here is why Tencent is investing more into original films in an increasingly competitive landscape:

  • China’s largest social company is moving steadily into entertainment. The owner of messaging services WeChat and QQ founded Tencent Pictures last year. And it's producing original content based on the intellectual property it owns — including the rights to more than 300 Japanese anime franchises — in a production model similar to Disney and Marvel. Tencent also announced in September that it was developing 21 film and TV projects.
  • The Chinese film and TV entertainment market is set to boom. Ticket sales in the country will grow 22% YoY to $10.4 billion in 2017, according to average projections by IHS Markit and PricewaterhouseCoopers (PwC) cited by Bloomberg. Domestic and Western media companies are itching to capitalize on the Chinese opportunity at a time when the US film market has been hovering between $10 billion and $11 billion since 2011, according to PwC’s media outlook.
  • But Tencent’s budget is small compared to its Western counterparts. The $295 million budget is meant specifically for movie financing, and doesn’t take into account other funds set aside for intellectual property and content acquisition. But even if we take those into account, it’s unlikely that Tencent’s total content budget will match the $7 billion and $3 billion that Netflix and Amazon, respectively, plan to spend this year.
  • And competition is heating up among China’s entertainment giants. Alongside Tencent, Alibaba and Dalian Wanda Group are also making forays into Hollywood. The former invested in Amblin Partners (formerly DreamWorks Studios) in October, backed the latest Mission Impossible installment, and has its own Netflix-like service in Tmall Box Office. The latter owns cinema theater chain AMC, bought Legendary Entertainment (the maker of Jurassic World) in early 2016, and took over Dick Clark Productions last week for $1 billion. 

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Actor Ron Perlman says he's running for president in 2020

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Ron-Perlman

Actor Ron Perlman has enjoyed a successful career in TV and movies going back to 1981.

He starred in both of director Guillermo del Toro’s Hellboy films, as well as Blade II and Pacific Rim; plus, he has done voice work in various Batman animated shows and starred in most of the run of Sons of Anarchy. He remains busy with frequent roles at the age of 66, with his next project the upcoming re-entry to the Harry Potter franchise, Fantastic Beasts and Where to Find Them.

The election this week of Donald Trump as the 45th president of the United States throws open the possibility that the next generation of political leaders may draw upon the ranks of famous people who got their start in fields far away from politics. Kanye West, in fact, announced earlier this year that he aspires to run for president in 2020. And now, none other than Ron Perlman is throwing his hat in the ring.

Perlman announced to the 1.2 million followers on his verified Facebook page Wednesday: “I am hereby using my immense Facebook presence to announce my candidacy for President of United States, 2020,” illustrating the announcement with a hand over his heart. Take a look:

The first comment on the post, by Perlman himself, states, “My slogan will be, “Make America Great Again, Againso…hold onto your hats!” Below that, at least one commenter noted that Perlman has played a president before – his character, Clay Morrow, was the president of the SAMCRO motorcycle club on Sons of Anarchy. With Hellboy 3 shelved indefinitely, he’ll have some free time.

It’s unclear how serious Perlman is about his presidential aspirations. The actor has not previously been much associated with specific political causes, although on Facebook last week he urged his followers to vote and posted a picture of himself sporting an “I voted” sticker. He also once, in an interview, expressed his desire for a “neural link” (the robot-mind-melding maneuver from Pacific Rim) with President Obama, and has made fun of Trump’s frequent use of the phrase “You wouldn’t believe” on Twitter.

If Perlman is serious, then he’d certainly be an entertaining presence on the political stage. Of course, if it turns out he’s kidding, it’s likely that “surprise” presidential announcements by celebrities are going to become a joke that’s beaten into the ground before long — that is, if it hasn’t been already.

SEE ALSO: The 50 best movies of all time, according to critics on Metacritic

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Why critics are in love with 'Arrival,' the most acclaimed sci-fi movie of the year

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Arrival Jan Thijs Paramount final

"Arrival" is an emotionally charged sci-fi drama that critics instantly fell for when it began playing the award-bait film festivals — Venice, Telluride, and Toronto — in September. And that critic love has only continued.

With a current 96% rating on Rotten Tomatoes, things are looking good for "Arrival," which opens on Friday. If general audiences react to it as strongly as the critics have, this could be a strong last few months of the year for its studio, Paramount.

Amy Adams stars in the film as a linguist who is chosen by the military to assist in communicating with aliens who have just landed on earth. Based on the short story by Ted Chiang, the screenplay Eric Heisserer adapted and then shopped for a decade until it got into the capable hands of director Denis Villeneuve ("Prisoners,""Sicario") is not just a thrilling aliens-come-to-earth story that will keep you on the edge of your seat, but also a devastatingly touching exploration of love and family that will have you tearing up by the end.

But don't take our word for it. Here are what the top critics are saying:

SEE ALSO: Stephen Colbert: "We should never, ever have another election like this one"

It's an alien movie that actually makes you think.

"Arrival" is a rare studio movie about aliens that is interested in telling a strong story rather than dazzling you with visuals.

The Playlist puts it this way: "The moment you realize 'Arrival' might force you to engage in that most un-blockbustery of activities — thinking — is when the first signal comes from the beings in the craft, and it looks like a coffee mug ring crossed with a Rorschach ink blot." 

And ScreenCrush points out the different kind of sci-fi movie it is: "One of 'Arrival''s greatest achievements is the way it makes alien seem alien again: Strange and inhuman and beyond the limits of our comprehension. It readjusts our thinking about what life on other worlds might be like."



Director Denis Villeneuve is the real deal.

Villeneuve has impressed many with his previous films, but this one proves that he should be considered one of the top-flight filmmakers working today. 

"The way the resolution is revealed, which I wouldn’t divulge for all the tea in China, is a moment of such storytelling ingenuity and skillful execution that I wanted to cheer at the sheer perfection of the moment, and the brilliant way Villeneuve and screenwriter Eric Heisserer orchestrate the dialogue, acting, cutting, and scoring," Flavorwire said of the movie's emotional ending.

"That Villeneuve so seamlessly wrangles thought-provoking ideas with awe-inspiring visuals and a very human story bodes extremely well for his upcoming 'Blade Runner 2,'"Games Radar wrote.



It's a beautifully shot movie with Kubrick vibes.

Cinematographer Bradford Young is one of the rising stars in his field (he's now shooting the young Han Solo movie) and he showcases his talents in this movie, which has strong echoes of Stanley Kubrick's "2001: A Space Odyssey."

"Cinematographer Bradford Young shoots the drama in a graceful, composed style, adhering to a sober, calmly observational approach even when temperatures onscreen are at their highest and nerves at their most jangled," The Hollywood Reporter wrote.

"...he creates a beautiful world of cool, symmetrical compositions and ever-patient camera moves," The Verge said. "It would be foolish to avoid the Kubrick comparisons."

 



See the rest of the story at Business Insider

The average Netflix subscriber watches almost twice as much Netflix as they did 5 years ago (NFLX)

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the crown netflix review

Netflix says it will produce a whopping 1,000 hours of original TV shows and movies in 2017, and that's a good thing since people keep watching more and more Netflix.

The number of hours of Netflix the average subscriber watches has gone up steadily since 2011, at an average of 16.4% per year. In 2011, using Netflix data, we can estimate that each subscriber watched about 51 minutes of Netflix per day (about 310 hours per year). And while official Netflix data hasn't come out yet for this year, CordCutting.com estimated that for 2016, users are on track to stream 600 hours of content each, on average.

If that's true, it means that the average Netflix subscriber watches about 12 DAYS more Netflix in a year than they did in 2011!

Here's a chart from CordCutting.com that shows the progression (these numbers only reflect the official data from Netflix, which we only have through 2015):

netflix streaming hours per subscriber

The steadiness of this rise suggests Netflix hasn't hampered its appeal by leaning heavily into original TV shows and movies, which it began producing in 2013.

Particularly heartening for Netflix should be its popularity among younger viewers. In a Piper Jaffray survey of 10,000 US teens released last month, 37% of teens said they watched Netflix every day. Every day!

Netflix's big competitors, Amazon Prime Video and Hulu, came in way below Netflix at just 3% each. That means Netflix is over 12 times as popular in terms of daily use.

Here is the full chart from Piper Jaffray:

screen shot 2016 10 14 at 10.27.35 am

SEE ALSO: Amazon CEO Jeff Bezos changes tone and wishes Donald Trump 'great success' — as Amazon stock tanks

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How the writer of 'Arrival' spent a decade getting his sci-fi Oscar contender made

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Arrival square Paramount

Eric Heisserer was leaving a meeting with the production company 21 Laps in 2010 when he was asked one last question: “Is there anything you would want us to get the rights to?”

Heisserer turned and gave the pitch he’d been giving and which had been turned down for the last five years, but he thought, “Why not?”

He told 21 Laps producers Dan Cohen and Dan Levine about a short story he was obsessed with, “Story of Your Life.” Written by sci-fi writer Ted Chiang, it follows a linguist named Louise who is recruited by the military to help understand the language of aliens who have just landed on earth.

To Heisserer’s surprise, Cohen and Levine were interested, and suddenly the movie that would become known as “Arrival,” the highly anticipated sci-fi drama starring Amy Adams in the Louise role, had life.

Though Heisserer, 46, is best known in Hollywood for his horror scripts — which include this year’s surprise box-office hit “Lights Out” and 2010’s “A Nightmare on Elm Street” reboot — he’s always been looking to branch out into other genres. A script that he wrote on spec seems to be the one that’s going to do it.

Around 2005, Heisserer read “Story of Your Life” and was completely taken by Chiang’s touching story of life and loss.

“The end of the story just had me bawling and I knew at that point I wanted to share that feeling with the world,” Heisserer said to Business Insider. “And I didn't worry so much about the fact that it wasn't inherently cinematic in its original form.”

That’s the biggest reason why it took so long for Heisserer to find producers who were interested. He was told meeting after meeting that he either needed a star or a name director to move forward, and he had neither.

But with 21 Laps on his side after their meeting in 2010, he was a step closer. The company, founded by director Shawn Levy (“Night at the Museum”), was beginning to come into its own and would soon get behind two unknown filmmakers with a project called “Stranger Things,” which would go on to become one of Netflix’s biggest hits.

When Heisserer teamed up with 21 Laps for a new round of pitches of his story idea, studios rejected it again. So Heisserer was content to put the project aside and move on.

Or he thought he was.

Eric Heisserer Matt Winkelmeyer Getty"The next morning, I called the Dans and I said, ‘It's too close to my heart. This is a story that's in my bones. I will write this on spec,’” he said.

Heisserer spent all of 2011 writing the script, which then got on the coveted Black List, an annual list of the best unproduced scripts in the business. That led to independent financiers FilmNation and LavaBear offering the money to finance the film in 2012 (Heisserer received the Writers Guild of America minimum fee, which at the time was around $100,000). 

Along with screenwriter credit, Heisserer also negotiated an executive producer credit on the film.

“It was an insurance policy to make sure I would have a seat at the table and help answer questions,” Heisserer said of pushing for the EP credit. “Every page had a reason for being there. It was a script that was very purposely constructed and it’s like a Jenga game. If anyone took something out it was important for me to be there and say, ‘Hang on!’”

This systematic adaptation of Chiang’s story started out with two simple elements: a cork board and magazines.

Heisserer used the board to separate the story into two sections. One column of the board was dedicated to the story’s core structure while on the other side he posted images from magazines that evoked something from the story — like visuals for locations, dreams, even the cast.

“I find this so amazing, but the picture I put up on the board for the character of Louise was an Amy Adams photo,” Heisserer said.

And as he suspected when he first read the story, Heisserer had to change a few elements from Chiang’s story to make it more cinematic. A big shift was having the aliens come to earth.

In Chiang’s story, the aliens communicate with Louise light years away via a video screen, and they never do come to the planet.

“It was the first major change from the original material,” he said. “Have the aliens right there next to us.”

Arrival YouTube:ParamountThat then led to the idea of multiple alien ships landing across the globe, which then caused Heisserer to think up how the world would react to them landing. Turns out not well.

“The more I thought about how our population would react to this, the more I realized this is just going to get worse the longer the aliens stay around,” Heisserer said. “The longer these are parked here and no real answers are forthcoming, the more our population is going to freak out.”

But outside of the tricks a screenwriter uses to build drama and thrills in a movie, by the end, Heisserer wanted to stay true to Chiang’s story.

“That emotional reaction to the ending when you realize Louise’s journey, that’s all Ted,” Heisserer said. “I don’t get to take credit for that, nor would I want to.”

That pull at the heartstrings has led audiences at the Venice, Telluride, and Toronto film festivals to fall in love with — and generate Oscar buzz for — “Arrival,” thanks greatly to the vision of director Denis Villeneuve ("Sicario"), who didn’t take the job until he met with Heisserer (six meetings later he signed on to do it).

Looking back on the project, Heisserer said the best thing that happened to the movie was that a studio didn’t nab it early on (it was eventually acquired by Paramount). Independent financing meant there was little interference in the making of it.

“This was like a breath of fresh air,” said Heisserer, who is very familiar with top executives flexing their muscles for creative change.

Heisserer will likely go back to the horror/thriller genre, but there’s one more takeaway from writing “Arrival.”

“I couldn't need any bigger proof that it's important for me to write what I'm passionate about on spec,” he said, as “Arrival” and “Lights Out” were both done on spec. “It has reaffirmed my commitment that no matter what is going on in my career I will write one spec a year regardless.” 

“Arrival” opens in theaters November 11.

SEE ALSO: How the man behind Netflix hit "Stranger Things" is taking over Hollywood

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The 'Fantastic Beasts' producer explains why there are 5 movies in the franchise

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JK Rowling

In October, “Harry Potter” author J.K. Rowling shocked a room full of fans when she revealed during a panel discussion that the spin-off franchise of the successful “Potter” movies, “Fantastic Beasts and Where to Find Them,” would not be a trilogy as earlier reported, but instead would comprise five movies.

“Fantastic Beasts and Where to Find Them” opens in theaters on November 18 with a lot of anticipation and excitement about the adventures of “magizoologist” (the study of magical creatures) Newt Scamander, played by Eddie Redmayne. That includes Rowling herself, who wrote her first ever screenplay for “Fantastic Beats” and, according to longtime “Potter” and now “Beasts” producer David Heyman, couldn’t stop with just one.

“Halfway through the first script she said, ‘I don’t think I’m going to write the next one. I’ll do an outline of the story and then someone can write it,’” Heyman recently told Business Insider. “Then at the end of the first one she said she would write the second film, and halfway through that she said, ‘Not only am I going to write this one but there’s going to be five!’”

The proclamation by Rowling shocked Heyman, but as he put it, “It’s great to play in this sandpit.”

And the franchise’s studio, Warner Bros., likely agrees. The “Potter” franchise pocketed it $7 billion-plus over eight movies. 

But Heyman, the producer who secured the “Harry Potter” book rights back in 1999 and went on to produce all the movies (he will do the same for the "Beasts" movies), isn’t surprised by Rowling’s hunger to continue writing about the “Harry Potter” universe.

“Jo is a writer, she can't help writing,” he said of Rowling. “She's done a draft of the second 'Fantastic Beasts' and director David Yates asked her to go back and do a 12-page outline. She went away and two days later came back with 102 pages. She can't help it, she's a workaholic, it pours out of her.”

Fantstic Beasts and Where to Find Them Warner BrosBut Heyman admits Rowling's transition from cherished author to a first-time screenwriter had its growing pains.

“Her greatest challenge was finding tone and once that tone was established, the rest flew,” he said. “So the first draft was rather light and whimsical and a lot of that remains in this film, then under our guidance it became darker, much darker than what we see in the finished film, and quite violent. Then we found its language, which combined the two.”

Heyman said there were numerous drafts of the screenplay (“way more than 10,” he said), in which they tackled not just the entire story but individual character structure and sequences. But the reason Rowling was able to pull it off was because she understood the collaborative nature of making a movie.

“Like all of us she’s ambitious,” Heyman said. “But at the same time she had to learn the way to give out exposition in a screenplay differently from a book, or the nature of internal narrative that you can get across in a book but can't in a film. But I knew she was a really good screenwriter because she has great humility.”

SEE ALSO: Why critics are in love with "Arrival," the most acclaimed sci-fi movie of the year

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Jennifer Lawrence speaks out about Donald Trump's victory: 'Let this enrage you'

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Jennifer Lawrence wrote a passionate op-ed for Vice’s Broadly about Donald Trump’s shocking defeat over Hillary Clinton in Tuesday’s presidential election.

In the piece, the 26-year-old actress said that she believes America’s sexist attitude toward women is partially to blame for the ex-Celebrity Apprentice host’s impending takeover of the Oval Office.

“Is this the stark reality? It doesn’t matter how hard you work or how qualified you are, at the end of the day, you’re not a man? Is that what we just learned?” Lawrence wrote. “This country was founded on immigration, and today the only people that feel safe, that their rights are recognized and respected are white men.”

The Hunger Games star — a vocal Clinton supporter who once described this year’s election as “the end of the world” — went on to say that she is choosing to be positive despite Trump’s victory.

“I want to be positive; I want to support our democracy, but what can we take away from this? It’s a genuine question that we all need to ask ourselves,” she continued. “We shouldn’t blame anyone, we shouldn’t riot in the streets. We should think strongly and clearly about what to do next because we cannot change the past.”

After encouraging readers to love one another and to protect the environment, Lawrence urged female fans to remain optimistic during Trump’s presidency.

“If you’re a woman and you’re worried that no matter how hard you work or how much you learn, there will always be a glass ceiling, then I don’t really know what to say. I don’t know what I would tell my daughter if I were you. Except to have hope. To work for the future,” she wrote. “We’re all allowed to be sad that the present isn’t what we thought it was. But we mustn’t be defeated. We will keep educating ourselves and working twice as hard as the man next to us because we know now that it is not fair. It is not fair in the workplace, so you make it impossible to fail. And like Hillary, it might not work.”

She then shared a second message of hope, telling readers that Clinton’s persistence should inspire them to be the best versions of themselves.

“But, like Hillary, you can still be an inspiration and get important things done,” she concluded. “Do not let this defeat you — let this enrage you! Let it motivate you! Let this be the fire you didn’t have before. If you are an immigrant, if you are a person of color, if you are LGBTQ+, if you are a woman — don't be afraid, be loud!”

SEE ALSO: Celebrities react to Donald Trump's presidential victory with shock and horror

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New 'Ghost in the Shell' footage shows off the film's incredible, futuristic visuals

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ghost in the shellOne of the most highly anticipated movies of next year is the live-action film based on the Japanese anime Ghost in the Shell. A great deal has been made about how the film looks, specifically in regards to the cast members, but now a new featurette reveals a little bit more about how the movie will look overall. It certainly looks like they've gotten a lot about the film's cosmetics right. Check it out.

Ghost in the Shell is one of the most popular anime films of all time. It's unique look is certainly one of the reasons that it has appealed to audiences all over the world, not simply in Japan. The clip, which focuses on Mamoru Oshii, the director of the original anime, checking out the set, also shows off some of the visuals that we'll be seeing when the movie hits screens early next year.

While a bit of what we're seeing is done in front of green screens that are still green, so we have no idea what it will actually look like in the final film, we do see Scarlett Johansson as The Major moving through city streets that look both futuristic, yet run down and dirty. It's very much the same look that the original anime had. The Asian influence is certainly there as well, in the form some inspired robotic characters.

Ghost in the Shell has been the target of criticism ever since it was announced that Scarlett Johansson would be playing the lead role of The Major. The film, like the anime that it is based on, takes place in Japan and all of the characters were originally Japanese. Casting a white actress to take the lead role was a problem for many. Regardless, the film moved forward and it certainly seems that, lead role notwithstanding, the movie is going to try to present a very faithful adaptation of the anime, at least from a visual standpoint. It feels like animation has come to life. The original director seems to like it. Although, James Cameron said nice things about Terminator: Genisys once too. We know how well that turned out.

What do you think of this look at Ghost in the Shell? Is it everything you were hoping it would be? Let us know in the comments below. Ghost in the Shell will hit theaters March 31, 2017.

SEE ALSO: The awesome teaser for Scarlett Johansson's 'Ghost in the Shell' looks like the new 'Matrix'

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A 100-word dictionary was made to create the alien language in this year's highly anticipated sci-fi thriller 'Arrival'

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jeremy renner amy adams arrival

Warning: There are some small spoilers ahead for "Arrival."

"Arrival," is the most acclaimed sci-fi spectacle of the year. The movie, which stars Amy Adams and Jeremy Renner, follows the duo's journey as they attempt to communicate with aliens who have landed on Earth. Their mission is to discover why 12 mysterious pods have cropped up across the planet and whether they're an endangerment to mankind.

Linguist Louise Banks (Adams) has a breakthrough and is able to communicate with two of the aliens, playfully nicknamed Abbott and Costello, using an elaborate system. Throughout the film, the two aliens draw circular designs on a giant wall to communicate back and forth with both Louise and physicist Ian Donnelly (Jeremy Renner).

arrival alien languageamy adams arrival

In a story that teaches that communication is key to thrive not only in a nation, but as a larger community across the world, it can be intimidating to come up with the perfect language to embody an entirely new species. An incredible amount of detail went into solving how the complex alien language was constructed and how it worked. The result became dozens of beautiful giant logograms that resemble coffee stains or inkblots.

It took several months to develop after the initial design was agreed upon. Production designer Patrice Vermette tells INSIDER the crew even put together a dictionary for reference.

"The dictionary is quite simple," says Vermette. "We came up with about 100 different words, different expressions, different meanings, different concepts or sentences or words to present and communicate."

One of the alien phrases seen in the movie — which puts the US and foreign governments at odds — is "offer weapon."

Vermette says it wasn't a cakewalk coming up with the final design. The journey of winding up with the language started by asking linguists and graphic designers on their opinions and design ideas, but the responses he and his wife, artist Martine Bertrand, received ultimately never winded up fruitful.

"We weren’t very satisfied because everything was always related to something that humans could identify to. We wanted that language to be surprising," said Vermette. "It needs to be beautiful, but it also needs to be scary. We wanted the audience to be as surprised and mesmerized as Louise."

arrival alien language

After approaching various designers and linguists and coming up short, Vermette ultimately turned to his wife, Bertrand. He said everything he was coming up with was either mathematical or hieroglyphic, and they were all things humans could relate to. They didn't incorporate that mysteriousness that he was looking for.

"One night I was at home with my wife having dinner. My wife said, 'Would you mind if I tackled the problem tomorrow?' And I said, 'No, go ahead.'"Vermette says the next day when he came home, Bertrand had about 15 designs set out on the kitchen table. "‘Oh my God. I think you solved it. I think you solved the puzzle,'"Vermette recalled. "The next day, I went to the office and I showed all the different designs to [director] Denis [Villeneuve] and he went, 'What is that? That’s exactly it!' [...] From there, the real development went underway."

Vermette says coming up with the design was a "eureka" moment.

"We looked into ancient Asian language, Arabic language, tribes from Northern Africa," he said. "It’s [all] part of our history. We can always relate to it. We wanted something totally different."

Vermette says at one point he could actually write the logograms himself with his hand. 

Through all of the designs that you'll see in the film, Vermette says that there was one one design he described as especially beautiful that wasn't used in the final film. 

"It was 'create life' with a question [mark]. It was a thing that was dropped,"Vermette said. "But it was Jeremy Renner’s character writing that on the glass, the window in Louise’s house. That is there to reflect the big white wall in the [alien] ship."

arrival jeremy renner amy adams

The symbol was to be used in a scene that was cut where Ian Donnelly (Renner) would have expressed to Louise that he wanted to have a child. 

"Arrival" is now in theaters.  

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IMDb is suing California for letting actors remove their age from the site

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danny trejo

For many, The Internet Movie Database - better known as IMDb - is the go-to resource for all film information, the websites famous top 250 films list being the holy grail of good cinema.

However, in September, California passed a law ruling that “a commercial online entertainment employment service provider” would have to remove the age of any actor held on the database if requested by the actor. 

While intended to be a positive move in fighting age discrimination in the film industry, IMDb has taken issue with California, deciding to sue the state.

In their suit, IMDb claims the law“does not advance, much less achieve” a reduction in age discrimination, countering that the law ‘violates both the first amendments and commerce clause of the US constitution,’ as noted by The Guardian.

The company also claims the law violates federal law “because it imposes liability on IMDb based on factual content that is lawfully posted by its users”. IMDb also questions how the law can be imposed in their website while not on the likes of Wikipedia, Google, and other websites that detail the birthdays of celebrities.

In conclusion, IMDb’s lawsuit asks the court to “declare that Assembly bill 1687 is unconstitutional and that IMDb cannot be liable for failing to censor factual public information.” 

When the law was initially passed, SAG-AFTRA president Gabrielle Carteris said: “Like all employees, performers deserve a fair opportunity to prove what they can do, and this bill will help them do just that.”

The law - known as AB-1687 - only applies to commercial websites, which are defined as those that display ads or receive money from subscribers. That means it doesn’t affect websites like Wikipedia, where the information is uploaded by the public, or news sites.

SEE ALSO: 29 movies you have to see this holiday season

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Oscar favorite 'Arrival' is one of the best movies of the year — and a big surprise

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From the trailer for "Arrival," which just showed at the Toronto International Film Festival, you'd assume it's a CGI-heavy sci-fi movie about aliens coming to earth to make contact. If they come in peace or to destroy us is the question that's left open.

But that's just the hook to get you in the theater. The truth is "Arrival," directed by Denis Villeneuve ("Sicario,""Prisoners") and starring Amy Adams, is a moving story that is more about humanity than whether beings from the sky come in peace.

Based on a short story by sci-fi author Ted Chiang titled "Story of Your Life,""Arrival" follows linguist Dr. Louise Banks (Adams), whom the military calls on to help start a dialogue once the aliens have landed.

The world goes crazy when 12 large pod-shaped ships suddenly show up in different areas of the world. There's one placed in the US, in an open field in Montana. Dr. Banks and scientist Ian Donnelly (Jeremy Renner) are the brains behind the US operation to figure out what the aliens want.

They communicate with all other countries investigating pods. But the head of the military arm of the operation, Colonel Weber (Forest Whitaker), is getting pressure from the White House to get answers. And the stakes grow higher when China decides to disband from the process and attack the pod that's within its borders.

It's all thrilling, and the science is not heavy-handed and very easy to understand, but it's all a MacGuffin, a device Alfred Hitchcock loved to use. It's a detail in a story that is important for the characters but turns out to be less important for the audience's needs.

The real story (and warning: spoilers here) is the relationship that Dr. Banks builds with the aliens inside the pod, playfully named Abbot and Costello, the legendary comedy duo. Through her continued conversations with the duo in trying to understand their language, she begins to uncover what they want, but by delving into her own memories.

There are certainly thrills, helped by a dramatic score and use of pauses for tension, but the movie really runs off of the captivating emotions of Dr. Banks, delivered perfectly (as usual) by Amy Adams — who will definitely receive an Oscar nomination for this performance.

Another way of capturing that emotion is the beautiful cinematography by Bradford Young, who gives the movie a very Terrence Malick-like quality with sweeping views of nature and closeups of intimate interaction.

All elements come together under the direction of director Villeneuve, who has taken one step closer to becoming a top auteur working in Hollywood.

"Arrival" will certainly be an Oscar contender in numerous categories, but outside of awards, it's a film that should be celebrated for its masterful storytelling. 

"Arrival" is currently screening at the Toronto International Film Festival and will hit theaters on November 11.

SEE ALSO: The 10 most influential sci-fi movies of all time

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Robert Redford says he's retiring from acting

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Legendary actor Robert Redford has announced that he will retire from acting once he's done with the two films he's currently working on.

The 80-year-old Oscar winner revealed the news in an interview with his grandson, Dylan, for the Walker Art Center in Minneapolis, which is doing a retrospective on the actor that concludes on Saturday.

"I’m getting tired of acting," Redford said. "I’m an impatient person, so it’s hard for me to sit around and do take after take after take."

Redford is currently working on two projects, "Our Souls at Night," starring Jane Fonda, and "The Old Man and the Gun," which will star Casey Affleck and reteam Redford with his "Pete's Dragon" director David Lowery.

"Once they’re done then I’m going to say, 'Okay, that’s goodbye to all that,' and then just focus on directing," Redford said.

It's still going to be a little while until Redford packs it in, however. "Our Souls at Night" is still in postproduction and "The Old Man and the Gun" hasn't begun shooting yet. 

But this looks to mark the retirement of one of the greatest actors to ever grace the screen. 

Redford is known for starring in all-time classics like "Butch Cassidy and the Sundance Kid,""All The President's Men," and "The Sting," to name just a small few.

He won a best director Oscar in 1981 for "Ordinary People," and has not said he'll retire from directing.

In 1978 he founded the organization that would become the Sundance Film Festival, which has largely fueled the current independent film industry in the US.

SEE ALSO: Why Colin Farrell says he's enjoying acting now "more and I ever have"

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NOW WATCH: Judge Judy makes $47 million a year —here’s how she became one of the highest paid TV stars in the world

Why there's no other movie star in the world like Nicolas Cage — and that's a blessing

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Nicolas Cage is an Oscar-winning actor who has built his career on choosing movies and characters that never pigeonhole him into one type of movie star.

But there’s another tool in Cage’s arsenal that sets him apart from most actors. His over-the-top performances are can’t-miss spectacles that you can't really compare to anyone else.

When many actors turn up the crazy, it looks forced and is embarrassing for all involved to watch. But when Cage does it, it’s unlike any movie experience you’ve ever had. The beady eyes, weird voices, and disregard for his own safety is an art form in itself.

And right now you can stream two new Cage movies that fall under this special category: “Dog Eat Dog” and “Army of One.”

If you’ve never seen movies like “Vampire’s Kiss,” “The Wicker Man,” “Deadfall,” “Zandalee,” “Bad Lieutenant: Port of Call New Orleans,” or “Face/Off,” you aren’t familiar with Cage’s ability to do strange and peculiar things on-screen.

Here’s a montage for you (warning: NSFW):

Cage isn’t the first person to “chew the scenery” in movie history. Johnny Depp, David Caruso, Marlon Brando, Matthew McConaughey, Jim Carrey, and Al Pacino all come to mind.

But none of them has made it into a highly anticipated moviegoing experience in the way Cage has.

Sure, Pacino yelling out “Great ass!” in “Heat” is incredible because he goes from calm and collected to lunatic in five seconds flat, but Cage stretches out that intensity for a full feature film. It's practically an athletic talent.

“That can’t be easy,” Cage’s “Army of One” costar Wendi McLendon-Covey told Business Insider about Cage as Gary Faulkner, the real guy who tried to hunt down Osama bin Laden with just a samurai sword because he says God told him to.

The movie is vintage crazy Cage as he plays Faulkner with a high-pitched voice and long gray beard and hair that goes into a ponytail. It’s a character that McLendon-Covey said Cage had been doing for months before she came on the film. And he rarely ever broke character.

“I mean, my God,” McLendon-Covey said, “he must have just been dying to shake it off by the time I met him.”

But seriously, would you see a movie about a guy who single-handedly tried to hunt down bin Laden if Nicolas Cage weren't playing the character?

There are just some roles that can’t be done by normal actors.

Nicolas Cage has realized that he doesn’t have to play the Hollywood game anymore to make a living. The actor has made a healthy income the past few years through the straight-to-VOD market because audiences will happily spend a weekend renting a movie of his at home rather than going to the theater.

“Dog Eat Dog” director Paul Schrader told Business Insider the “good news” and “bad news” of working with Cage.

“Nic gets your movie financed,” Schrader said. “That's the good news. The bad news is that he eats up most of your budget in the process of getting it financed because you end up basically paying him the budget. But he still commands those big numbers.”

But you get your money’s worth. Because Cage’s involvement likely means your movie will become instantly memorable. (Trust me, I would not be writing about either of these movies if Nic Cage didn't star in them.)

dog eat dog entertainment 3 rlj entertainment finalIn Schrader’s film, Cage is an ex-con who along with his two buddies (one played by Willem Dafoe) takes on jobs from the Cleveland underworld to make a living, until things go horribly wrong on one job.

Sounds like you’ve seen that movie before, right? But in the last 10 minutes of the movie, Cage’s character suddenly thinks he’s Humphrey Bogart, with Cage delivering a Bogie impression that you will likely rewind just to make sure you really did just witness it.

Even Schrader was surprised when he first saw it.

“He kind of stunned this on me on the day we were shooting that,” the director said. “We went through it and all of a sudden he's doing it as Bogie and I was like, ‘Whoa, you sure you want to do that?’ And he said, ‘Look, you've been telling me for five weeks that we have to be bold. This is the only way you can do this genre today.’ He said, ‘I think this is a bold choice.’ I said, ‘Yeah, I think it is, too. Let's do it.’"

In a movie with many flaws, it’s Cage’s unthinkable morphing into Bogart that is worth the price of the movie.

And that’s the magic of Cage’s performances. Though they seem to be awful ideas on paper, when they pop off the screen, you are overjoyed watching someone who will take chances with such disregard for second-guessing or criticism.

There are many things we can complain about in today’s movie industry: the lack of originality from major studios, how expensive it is to go to the multiplex, bland young stars. But as the latest work of Nicolas Cage proves, there are still some things we can celebrate.

Don’t ever change, Nic Cage!

“Army of One” is currently available on iTunes and “Dog Eat Dog” will be available on Friday. Both titles are also currently in limited theatrical release.

SEE ALSO: 29 movies you have to see this holiday season

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NOW WATCH: Judge Judy makes $47 million a year —here’s how she became one of the highest paid TV stars in the world

Ben Affleck enters the Oscar race in the trailer for gangster movie 'Live By Night'

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ben affleck live by nightOne of the last remaining questions marks in the 2017 Oscar race, Ben Affleck’s “Live By Night” arrives in theaters for an awards-qualifying run this Christmas, three years after “Argo” took home Best Picture.

Affleck was famously snubbed for Best Director that year, and all eyes are watching his new film very closely to see if it can get him that elusive first directing Oscar nomination. All the ingredients for a powerhouse drama are certainly there, especially since it finds the actor-director adapting Dennis Lehane for the first time since “Gone Baby Gone,” arguably his best film.

Based on Lehane’s 2012 novel of the same name, “Live By Night” follows the rags-to-riches odyssey of gangster Joe Coughlin (Affleck). The son of a Boston cop, Coughlin finds himself pulled to the dark side as he takes to the criminal underworld in Florida and thrives in a new life of organized crime, rising from bootlegger to notorious gangster. The star-studded ensemble includes Sienna Miller, Elle Fanning, Zoe Saldana, Brendan Gleeson and Chris Cooper.

While the source material and Affleck’s involvement is certainly drawing interest, the new trailer hints that the real star here is probably cinematographer Robert Richardson. The longtime DP for Quentin Tarantino looks to be in top form, and at the very least “Live By Night” will be a show-stopper when it comes to visuals.

Warner Brothers will release “Live By Night” in select theaters December 25.

Watch the official trailer.

SEE ALSO: Why Matt Damon beats Ben Affleck in one chart

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'Star Wars: Rogue One' writers subtly protest Trump with a Rebellion safety pin logo

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In the wake of this week's U.S. election, the symbol of Star Wars' Rebellion had been adopted by many fans protesting the victory of Donald Trump — and now, two of the writers of next month's Rogue One: A Star Wars Story have referenced the relationship between that movie and the current political reality on social media.

Chris Weitz tweeted the following Friday morning —

— with Gary Whitta, the original writer on the project, responding in kind:

And Luke Skywalker himself, Mark Hamill, retweeted the "Star Wars against hate" tweet. 

As if to cement the connection, both Weitz and Whitta have changed their Twitter avatars to an image of the Rebel insignia with a safety pin through it, a reference to the symbol of solidarity with persecuted minorities that has gained currency in the U.S. following the election.

The safety pin symbol was derived from a reaction to the U.K., post Brexit vote, where minorities faced similar prejudice and attacks. THR has reached out for comment from Whitta as well as Lucasfilm.

Weitz's tweet followed his praise for this op-ed piece from CBR.com, which explicitly connects Rogue One to this week's U.S. elections, with writer Brett White calling the movie "the most relevant movie of 2016," explaining, "When I look at the 'Rogue One' trailers, I see what I want from America. I see a multicultural group standing strong together led by a rebellious and courageous woman."

Rogue One: A Star Wars Story opens in the U.S. Dec. 16.

SEE ALSO: Here's everything we know about the upcoming 'Star Wars' movie, 'Rogue One'

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23 documentaries on Netflix right now that will make you smarter

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One of the great things about Netflix is that it has brought thoughtful, compelling documentaries to a much wider audience that filmmakers could only dream of a decade ago.

And with binge-worthy titles like “Making a Murderer” and the vast ESPN “30 for 30” library being just a click away, you can get a lot of great nonfiction viewing any night of the week. You'll learn a lot more about the world, but don't worry — you'll also be entertained.

Here are 23 documentaries we think you should stream right away on Netflix:

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1. "13th"

Director Ava DuVernay looks at the history of the American prison system and shows how it relates to the nation's history of racial inequality.



2. “30 for 30” ESPN movies

Pretty much any “30 for 30” title is worth your time. The documentaries that highlight moments in sports that you may or may not be aware of are both entertaining and filled with emotion. A few we highly recommend: “No Crossover: The Tale of Allen Iverson”; “June 17th, 1994,” which looks at everything that happened in the world of sports at the time of O.J. Simpson's Bronco chase; “I Hate Christian Laettner”; and likely available in 2017 will be ESPN’s new masterwork, "O.J.: Made in America."



3. “The Act of Killing”

Joshua Oppenheimer’s Oscar-nominated doc looks at the Indonesian genocide by having death-squad leaders reenact their mass killings. The results are both comical and heart-wrenching. 



See the rest of the story at Business Insider

Michael Moore predicted Trump's path to victory exactly right

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Like him or not, Michael Moore was spot-on about the entire 2016 presidential election.

When Business Insider talked to the Oscar-winning filmmaker last December, he said that Donald Trump would be the Republican nominee, which was a shocking statement to political media and party leaders at the time. 

But Moore, a staunch Democrat, was even more bullish on Trump's chances when we talked to him again in May, warning that the country needed to be "deadly serious" about his run for the presidency.

"I know that they [the Trump campaign] are planning to focus on Michigan, Ohio, Pennsylvania, and Wisconsin. That's how he can win the election," Moore said. "If he can get those upper kind of Midwestern-type states, then he can pull it off." 

And that's exactly what happened

Ohio, Pennsylvania, and Wisconsin — reliably blue states in recent presidential elections — all went for Trump on election night (it's still too close to call Michigan at the time of this story's writing).

Moore, who was a Bernie Sanders supporter in the primaries but supported Hillary Clinton once she became the Democratic nominee, even notched up his talk, saying on numerous shows in the months leading up to the election that Trump was going to win.

However, he did try to make undecideds (and perhaps some Trump voters, too) feel Clinton was the better choice by making the film "Michael Moore in TrumpLand," which was basically a 75-minute ad for the Democratic nominee.   

It's in that movie where Moore could have laid out his most jarring prediction yet.

In the movie's most moving part, in which the filmmaker reads to his audience a letter he's written to the Trump voter, he explains why the businessman will win, thanks to the frustrations of hard-working middle Americans about the government. But then, Moore predicts, something happens to those who voted for Trump in Pennsylvania, Ohio, and Wisconsin:

"Over four million of them have signed a petition to have a do-over, they want to have another election," Moore says. "It ain't gonna happen because you used the ballot as an anger management tool, and now you're f---ed."

Hey, he hasn't been wrong yet.

Watch Moore's letter to Trump voters in "Michael Moore in TrumpLand" below:

SEE ALSO: Why critics are in love with "Arrival," the most acclaimed sci-fi movie of the year

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'Doctor Strange' continues its dominance at the box office

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"Doctor Strange" is showing it has some lasting power.

The latest Marvel release won the box office for a second consecutive weekend with an estimated $44 million, according to The Hollywood Reporter.

That's only a 49% drop from last weekend and a better second weekend release than 2013's "Thor: The Dark World" ($36.5 million).

The strong jolt for "Doctor Strange" this weekend was helped by Veteran's Day landing on a Friday this year, which led to a lot more kids who were out of school heading to the theaters on their day off. (While others probably needed some escapism after this week's presidential election results.) 

This also helped DreamWorks Animations' "Trolls" to come in second place with $35.1 million. 

arrival amy adamsAnd it was also a good weekend for "Arrival," as the sci-fi drama starring Amy Adams and Jeremy Renner took in $24 million to come in third place in its debut.

The critical darling proved that a movie catered to the over-30 crowd can still be a contender with the kid friendly titles. Thanks to the aggressive marketing by Paramount and putting it in over 2,300 screens, the movie is looking to build some word-of-mouth that can push it into award season glory.  

Though there was a healthy amount of coin being passed around to numerous titles this weekend, that will probably end next week as the highly anticipated "Fantastic Beasts and Where to Find Them" opens and will gobble most of it up for itself.

SEE ALSO: 23 documentaries on Netflix right now that will make you smarter

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Legendary director Paul Schrader reveals the 'good news' and 'bad news' of casting Nicolas Cage

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Paul Schrader has spent his career delving into the dark side of the human condition.

Starting out as a screenwriter, he instantly became a star by writing Martin Scorsese's 1976 classic "Taxi Driver." That started a long collaboration with Scorsese, continuing with "Raging Bull,""The Last Temptation of Christ," and "Bringing Out the Dead."

Schrader has tested audiences even more as a director, making haunting dramas like "American Gigolo"; the 1980s "Cat People" remake; "Affliction"; and "The Canyons," which is known more for the antics of its star, Lindsay Lohan, than what's on screen. (Schrader said he isn't mad — the movie sold for more than it cost to make.)

For his latest movie, "Dog Eat Dog," which opens in theaters November 4 and is on video on demand on November 11, Schrader teamed with Nicolas Cage and Willem Dafoe to create a bizarre, ultraviolent dark comedy — extremely dark and extremely violent — that is perhaps the boldest work Schrader has ever done.

Business Insider had a candid conversation with Schrader about the current movie business, how Cage surprised him when the actor suddenly read his lines imitating Humphrey Bogart, and why he'll never watch a work-in-progress cut of a Scorsese movie.

Jason Guerrasio: You've said while doing press for this movie that you had final cut on it. At this point in your career, can you make a movie any other way?

Paul Schrader: I never had final cut earlier on in my career, and I never needed it because you were always making movies with people who like movies and who understood movies. And yes, you had disagreements, and yes, you went back and forth, but at the end of the day you would come to an agreement.

Now in the last 10 years or so, we have started to see this influx of money into the entertainment business from people who don't necessarily like movies, watch movies, or know movies. You can find yourself in a room with people who are financing the film who don't watch movies themselves. Once you start to realize that you could be dealing with folks like that, then you start to think how can I protect myself? These people have a formula in their heads that is based on another time and place, and it's not the time and place in which you're making your movie.

Guerrasio: So you take a read on the people involved and decide if you say you want final cut?

Schrader: You try to. Every artist will tell you this: Every time you get f---ed you say, "I'm never going to get f---ed that way again." And you don't. But they come up with a new way to f--- you.

Dog Eat Dog RLJ Entertainment

Guerrasio: One of the things that is embedded in my brain about your movie is Nicolas Cage impersonating Humphrey Bogart by the end of the movie. Was that written in the script?

Schrader: That was not in the book. (The movie is loosely based on a book of the same title by Edward Bunker.) That was not in the script. The book and the script were not comic either.

But Nic had this idea for his character who thought himself somewhat foolishly as Humphrey Bogart, so he was doing Bogart things, which I wasn't that crazy about, but I wasn't going to pick a fight over it. I could always cut it out.

But there was this whole nagging issue of the last scene. We had talked about it in rehearsals, but he wasn't really satisfied. He came back to me again while we were shooting and he said, "I don't get this last scene. I don't understand why he's still alive. I don't understand what he's doing with this black couple." And I said, "Well, maybe he's not still alive. Maybe it's the afterlife." And that's when he started to come up with the Bogart idea.

He said, "Well, I've been fooling around with Bogart. If he is actually dead, then he can become Bogart and he can save the black couple." He doesn't exactly pull that off, but that's how that evolved.

And he kind of stunned this on me on the day we were shooting that. We went through it and all of a sudden he's doing it as Bogie and I was like, "Whoa, you sure you want to do that?" And he said, "Look, you've been telling me for five weeks that we have to be bold. This is the only way you can do this genre today." He said, "I think this is a bold choice." I said, "Yeah, I think it is, too. Let's do it."

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Guerrasio: For a movie that I think was intended to shock, it's not the violence that stays with me — it's the ending.

Schrader: Yeah, we jump into a meta movie. But my feeling is how you deal with a crime film in 2016 is a jazz riff. You try to stay ahead of the viewer. You don't quite know where you're going, and so one of the things that's unique about "Dog Eat Dog" is that it's a genre beyond predictability. The three ex-cons doing their last job, etc. There's a lot of genre tropes in there. On the other hand, it's an unpredictable take on a predictable genre.

Guerrasio: Is Cage still a bankable star so that when he's attached you have a "go" picture?

Schrader: Nic gets your movie financed. That's the good news. The bad news is that he eats up most of your budget in the process of getting it financed because you end up basically paying him the budget. But he still commands those big numbers.

I mean, the distributor of this film told me that all of the work we have done — the film festivals, all the press, the public appearances, the theatrical release — it all has one goal, which is to be No. 1 VOD on the first VOD weekend, because there is so much product out there on demand that if you're not in the top five it doesn't matter anymore because people can't get through it all. So you got to try to be No. 1 on VOD release.

Guerrasio: But do you ever see what those engagement numbers really are? Will the film's distributor, RLJ Entertainment, disclose them to you and be transparent?

Schrader: I talked to RLJ about this. We'll see how transparent they are. They promise to be transparent. I made "The Canyons" a while back and we self-financed that for a half-million dollars and then we sold it to IFC for $1 million, so we all made money and it was all fun and dandy. But of course, at the end, that film could go on and make money for the next 20 years [through streaming] and we'll never see a statement.

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Guerrasio: And — one way to stretch a dollar for this movie — you yourself played one of the characters. Which was something done at the last second, right?

Schrader: Yeah, Marty [Scorsese] was going to do it, and then the date we wanted him fell on his birthday, and he didn't want to come. I remember saying to the producer, "Even if Marty had come, we don't even have enough for his airfare anymore." Because this was at the end of the shooting schedule. So then there was the option of hiring a local, and I didn't want to do that, and Cage was pressuring me to do the role myself. And I thought, I may be bad, but I won't be boring.

Guerrasio: But you also asked Quentin Tarantino, Abel Ferrara, and Christopher Walken, right?

Schrader: Yeah. I even asked Rupert Everett to do it as a transgender Cleveland gangster, and he was willing to do it, but then his Oscar Wilde project ["The Happy Prince"] intervened.

Guerrasio: I've heard you say in the past that your films "exercise" your demons, not "exorcise" them.

Schrader: Not every one. But that's one of the things they can do, yes.

Guerrasio: Is that still the case today?

Schrader: You need to have a film like that maybe every four or five years. I don't think every film can be like that.

Guerrasio: So when was the last one like that for you?

Schrader: Well, that's this. I had written a film called "Dying of the Light," which I also directed and it started Nic Cage. And when I handed in the director's cut, they took it away.

Guerrasio: So getting screwed over again.

Schrader: Yeah, there was a point I wanted to make with this movie — I wanted to make a point that I can make a film with Nic Cage that people want to see.

the canyons IFC Films

Guerrasio: You mentioned "The Canyons," a movie that is known more for Lindsay Lohan's off-screen antics while making the movie. Was that a rebound moment for you, making that movie?

Schrader: It wasn't much of a rebound; it was an experiment. It was exhausting, and there's a lot of sanctimonious finger-wagging at poor Lindsay from the media. "Bad girl, bad girl." It's like all these people wagging their finger at Donald Trump while selling publications.

Guerrasio: So the media played up incidents in the making of the movie that didn't define how that movie was made?

Schrader: No. The New York Times was there on the set every day, so all that stuff, though not very flattering, it was true. Maybe some of it a little exaggerated, but most of it true. But every film is a drama for a different reason.

Guerrasio: Have you seen Scorsese's long-awaited "Silence" yet?

Schrader: No. He's really hit the mattresses because they'll be mixing all next month and it opens in December and it's three and a half hours long. I see Marty a lot, but I would never want to be in that position to be an early viewer of any of his films.

Guerrasio: So even in the past, he doesn't call on you?

Schrader: No. I would be uncomfortable.

SEE ALSO: 27 movies you need to see this fall

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