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      Family of Slain ‘Rust’ Cinematographer Weighs Wrongful-Death Lawsuit

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      Lawyers for the family of Halyna Hutchins, the cinematographer fatally shot by Alec Baldwin on the set of the movie “Rust” last year, filed a petition this week to appoint a representative for Hutchins’s estate who will consider whether to file a wrongful-death lawsuit.Ms. Hutchins was killed when the old-fashioned revolver Mr. Baldwin was practicing with on the film set in New Mexico, which he had been told did not contain live ammunition, fired a live bullet, hitting her and the movie’s director, Joel Souza, who survived.According to the petition, which was filed in state court in New Mexico on Wednesday, lawyers for Ms. Hutchins’s widower and son asked the court to appoint Kristina Martinez, a lawyer in Santa Fe, to represent the cinematographer’s estate “solely for the purpose of investigating and pursuing a lawsuit under the New Mexico Wrongful Death Act.” The court filing did not specify who would be named as a defendant should a lawsuit be filed.Ms. Hutchins’s widower, Matthew Hutchins, and her 9-year-old son both support the petition to name a representative of Ms. Hutchins’s estate, the filing said.Randi McGinn, a lawyer representing the Hutchinses, said the process of appointing a representative was specific to a state law in New Mexico. Under the statute, any money granted in the lawsuit would be split between Mr. Hutchins and his son, she said.Ms. Hutchins, who was 42 and originally from Ukraine, was an up-and-coming cinematographer whom friends described as talented, spirited and deeply committed to her work.In the aftermath of the deadly shooting on Oct. 21, several members of the film’s crew have filed lawsuits against Mr. Baldwin and others associated with the production. Mr. Baldwin, who was starring in the western and was also a producer on it, asserted in a television interview that he was not responsible for the fatal shooting and said that he had not pulled the trigger, suggesting that the gun could have gone off after he pulled back the hammer. His lawyers filed a motion on Monday calling for a lawsuit filed against him by the film’s script supervisor, Mamie Mitchell, to be dismissed.Officials in New Mexico are still examining how a live bullet got on set and then into the gun that Mr. Baldwin was practicing with and whether anyone should be held criminally responsible. More

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      Kamau Bell: Bill Cosby Is Key to Understanding America

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      When W. Kamau Bell was growing up, Bill Cosby was the “wallpaper of Black America” and an inspiration, Bell said in a recent interview. Bell’s new documentary, “We Need to Talk About Cosby,” surveys the star’s long career and cultural impact, as well as the accusations of sexual assault that culminated in his conviction, on three counts of aggravated indecent assault, in 2018. Cosby was freed from prison in June 2021 after an appeals court ruled that his due process rights had been violated.The four-part documentary — which premieres on Showtime on Sunday — consists of clips from his shows and standup act, conversations with women who accused Cosby and a parade of other interviewees who try to process the Cosby story and his legacy.As a comedian and host of shows like CNN’s “United Shades of America,” Bell said he has become known as a guy who is willing to have difficult conversations. But the one about Cosby was tougher than most, generating criticism from both sides: Some Cosby accusers didn’t talk to him because they didn’t want to be part of a project that includes Cosby’s achievements. At the same time, Bell said, he has been accused of tearing down a Black role model when he could be examining white transgressors instead.Last week, Cosby criticized the project through his spokesman, Andrew Wyatt, who added that Cosby continues to deny all allegations against him. Wyatt also praised Cosby’s work in the entertainment industry. “Mr. Cosby has spent more than 50 years standing with the excluded,” he said in a statement.As a reporter who covered Bill Cosby’s trials for The New York Times, I am familiar with the accusations against him. But the documentary sets those accusations in a deep context of American culture and Cosby’s career.Recently I spoke to Bell by video call about making the series, and about his belief that Cosby’s story is a story about America. These are edited excerpts from the conversation.Hi Kamau. How are you doing?[Laughs.] You’ve covered this story a lot, so I think you probably have some sense of how I’m doing. And then add Black into it.You’ve described to me the trepidation you felt about getting involved in something that had the potential to be “toxic.” What do you mean by that?We reached out to people, and we got so many “no”s so quickly. At the time, he was still in prison, and I thought, Oh maybe we can finally have the productive Bill Cosby conversation. But with every note I got from people who were really doing well in show business, what I’m hearing is, “This is a bad idea.” Not that they would say that outright, but the feeling was, No, I don’t want to touch that. Maybe they didn’t want to touch it with me, but I think generally they don’t want to touch it.Why would they say that?I mean specifically for Black people, whether you were involved indirectly or not, it’s hard to have a productive conversation about Bill Cosby without frustrating some of your audience who still wants to support him, whether they believe he did these things or not..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}How did the idea for the documentary come about?The idea came very naturally in a conversation with [Boardwalk Pictures Production]. I liked their work, they liked my work, and we started talking about comedian documentaries. Generally, there are not enough great comedian documentaries, and then through that conversation it was, “Could you do one about a comedian who has fallen?” There are any number to hold up, but Bill Cosby was the one we talked about. And I’ve been thinking about this Bill Cosby conversation for years.What did you hope to achieve?When I started making it, as we say in the doc, he was in prison. It sort of felt like the Bill Cosby story was, in large part, over. So maybe now we can have the conversation, and it’s a conversation I was already having in my head and with other people. Seeing people online trying to have it, the conversation wasn’t happening in a productive way.We have to learn something from this. If we don’t have the conversation, I don’t think we’re going to learn. The guy that I believed he was when I was growing up and when I was a young adult — that guy would want me to learn something from this.So on some level, your example, Bill Cosby, led me to try to figure this out.So what did you figure out?[Kierna Mayo, the former editor in chief of Ebony magazine] said something to the effect of, “Bill Cosby is key to understanding America.” To me, that’s what this is about.There are two runaway forces of oppression in America: One, how we treat nonwhite people. The other is how we have treated women through the history of this country. And if you look at Bill Cosby’s career, you can see things he did that makes this better and makes this worse. I believe there’s a lot to learn there.Kierna Mayo, the former editor in chief of Ebony, is among the interviewees who try to process the Cosby legacy in “We Need to Talk About Cosby.”ShowtimeYou use a timeline device in a powerful way that allows you to talk about the highlights of his career and also locate the timing of the accusations against him.I don’t like when documentaries tell some personal story but they don’t connect to history. Because you want to know what was happening when that happened — that helps give us the sense of why this is even more interesting.It doesn’t make sense to talk about Bill Cosby as if he was a solo man in the world. You have to really see how the boys-will-be-boys culture of Hollywood, specifically in the ’60s, invites a kind of behavior that allows predators to hide.It also lays this timeline of his career, the timeline of America and the timeline of the accusations on top of each other, which helps you see them in a new way.You raise the question about who else knew at the time about the accusations against Cosby, but you don’t come up with many specific answers. Did you try to talk to senior figures in the industry?Yeah. but we didn’t have access to any of those people. And I’m not an investigative journalist, so there’s a point at which I have to accept that I’m here to take all that we know and start to figure out what were the circumstances through which this went down.Ultimately, the bigger thing is it’s clear that the industry overall is not doing a good job, and the people who run the industry are probably still not doing the best job they can do. That’s the bigger issue to me.At times, it seems that the “We” in “We need to talk about Cosby” refers mainly to a Black audience. Are there some complexities of the Cosby case that are particular to Black people?I would say the “We” is those of us who feel connected to Bill Cosby. Now it just so happens that a lot of those people are Black people. But let’s be clear: He was America’s dad, not Black America’s dad. He was universal. Everybody who worked on this, no matter what their race was, if they were of a certain generation, they were like, “Yeah, I watched that show and felt like I was part of that family, too.”Even this interview is complicated: For a lot of people, I will be tearing down a Black man in a white newspaper in front of a white man. And the question is, why isn’t this interview about Harvey Weinstein, or Trump, or other people who have had allegations of sexual assault? Those are the questions that are coming at me now on social media — like, why this man?What do you say to your detractors?I learned long ago you can’t win those battles on social media, so I’m sort of allowing them to happen. I’m going to handle it by talking to you and other outlets, and by making sure I talk to Black press outlets, places where maybe those people will go. But I don’t think there’s any resolving it. If those people watch it, they will learn it is a more nuanced conversation than I think they believe it is.This is another trite thing to say, but we have to be on the right side of history here. Can this be an opportunity for a large percentage of this country to actually work to make the system and structures better, from the highest levels of show business and corporate America, through working-class America, all the way down to how sex education is taught in schools? There are so many levels of this — those of us who want to be on the right side of history have to do the work to rebuild these systems. You ask many times in the documentary, “Who is Bill Cosby now?” Did you come to a conclusion yourself?Somebody who has always taught us about America and is still teaching us about America, even if it’s in ways he does not want to. And it is very important for us to learn all of the lessons of Bill Cosby if we’re actually going to be a better society.Also embedded in that, and it’s hard to say it, but in the greater context: [Cosby is] one of the key figures for Black America and America in the 20th century. And one of the greatest standup comedians of all time. And the creator of one of the best sitcoms of all time. And, throughout a lot of his career, an advocate for Black excellence. But if you want to engage with that, you have to engage with the other stuff.Cosby was released from prison before you finished the documentary. How did his release change things?I didn’t want this, but it gave it a more immediate feel — this is an active situation again. He’s out in the world again, which means all the defenders are out there in the world again and feel emboldened. So it feels both more important to tell this story and scary to tell this story, because people are invested in protecting him.The most valuable conversation to me isn’t the film — it’s the conversation that we all have after we watch the film. No matter what you think about Bill Cosby’s story, it is critical that we create a society that treats survivors of sexual assault better. More

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      ‘The Ice Age Adventures of Buck Wild’ Review: A Franchise Thaws

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      The latest installment in this animated film series replaces nearly all of its celebrity voice performers with close proxies.Upon beginning “The Ice Age Adventures of Buck Wild,” the sixth feature in the animation franchise that grows woollier by the movie, you sense something amiss. Perhaps it’s the dinosaur paradise serenely preserved beneath alpine glaciers? Can’t be: That particular anachronism has been canon for several “Ice Age” installments.Rather, oddness stems here from the missing cast of celebrity performers, including Ray Romano, who over five movies lent surly gusto to the mammoth Manny, and John Leguizamo, the source of the sloth Sid’s erratic charm. Neither appears in “Buck Wild” (on Disney+), which opts instead for a set of close proxies. Substituting actors in sequels isn’t unheard-of (Robin Williams was notably absent from “The Return of Jafar”), but adults may find themselves absorbed in nit-picking this movie’s voices to gauge their fidelity to the originals — at least it distracts from the dialogue.And there’s a lot of dialogue. Directed by John C. Donkin, “Buck Wild” spotlights the motor-mouthed possum brothers Crash (Vincent Tong) and Eddie (Aaron Harris), who in earlier movies served only as half-witted sidekicks. Seeking adventure, they reunite with the one-eyed weasel Buck (Simon Pegg, the only actor reprising his role) and tag along on his quest to save the subterranean Mesozoic jungle from a despotic Protoceratops (Utkarsh Ambudkar). It’s simpler than it sounds.Reining in the chaos is a sensible zorilla named Zee (Justina Machado) who bails the boys out of trouble while teaching us that courage comes from within. Being detained with this zoological crew could melt one’s brain faster than ice in a heat wave. And where is Scrat, the squirrel whose unwavering pursuit of an acorn is often the franchise’s saving grace? Nearly nonverbal, Scrat wouldn’t even require a locum tenens; of all the movie’s sins, his omission is unforgivable.The Ice Age Adventures of Buck WildRated PG. Running time: 1 hour 21 minutes. Watch on Disney + More

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      Moses Storm and the Case for Pretentious Modern Stand-up

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      In his new special, the comic claims he has no agenda, but his jokes and stories about poverty cohere into trenchant commentary. Why are themes out of fashion?Surely you’ve heard the grumbles, the sighs and the outright complaints about self-serious comedians making points instead of punch lines, pandering for applause, creating specials that are more like solo theater shows or, the unkindest cut of all, TED Talks.Eye-rolling over comedy getting tragically serious started among hard-core fans and comics, migrated to podcasts, and now has made its way to specials themselves. Witness “Trash White” (now streaming on HBO Max), a promising if schematic debut from Moses Storm. After opening with a topic sentence (“Crazy will always beat scary”) and a story about growing up poor, he assures the audience that he’s not making a “modern-day comedy special.”In case you’re not clued in to this critique, which reached its zenith in the backlash to Hannah Gadsby’s “Nanette,” he dismissively mentions TED Talks. “I have nothing of educational value to add to your night,” he says. “I have legitimately no agenda.”Here’s the funny part: None of this is true.Storm, whose Timothée Chalamet hair stylishly clashes with his white outfit, has actually made a quintessentially modern comedy special, hitting on every trendy trope, from eccentric camerawork (it opens with a swirling bird’s-eye view of the stage) to documentary elements and theatrical design, including a pointedly cluttered and abstract set. Unless I’m missing the sarcasm, his statement that “The idea of upward mobility in this country is a lie” sure sounds like an agenda.Storm is trying to have his cake and make fun of those who say “Let them eat cake,” too. But one gets the sense that his anxiety about coming off as smarter than funny is an impediment here. What distinguishes this special is not the quality of its jokes, which range from fair to middling, but how they are woven into a thematically and formally coherent show that has something to say about poverty in America today.Storm is hardly the first comic to make jokes about being broke. In fact, there may be no more common subject. In his recent Netflix half-hour, Dusty Slay illustrated his level of poverty as a kid by describing the ice cream his mother offered. “My mom would pour milk into a bowl,” Slay explained. “Then when we’d show up, she’d say, ‘You’re too late.’” Storm also has a bit about the ice cream his family could afford.Dusty Slay talked about growing up poor in his recent special.Clifton Prescod/NetflixIn a raucous special that comes out next month on Netflix, the stand-up Ms. Pat has some superb material on what her family did to save money, including eating “water sandwiches” and cooking in the fireplace.There’s an entire other universe of comics who find humor in currently being poor. Kyle Ayers has a great bit about how he drives for Uber to support his stand-up and once took home two of his five audience members. During the ride, one asked, “How’s it going?” and he shot back, “I think we both know ‘how it’s going.’”And yet class does not seem to be as prominent a subject in stand-up as race or gender. That’s because by the time comics becomes famous enough to make really popular specials, they tend to be too well-off to want to talk about money. (Though an exception might be Gary Gulman’s next special, judging by his current tour.)Storm, a 31-year-old actor and stand-up, digs into the subject from many angles, telling jokes that pinpoint cultural double standards. (When it comes to dyslexia, he explains, the rich get Adderall and the poor are just considered dumb.) Other bits unpack euphemisms in the tradition of George Carlin. He singles out the term “food insecure household” because it makes a serious issue “sound adorable.”The most fascinating part of the special is when Storm discusses his mother’s attempts to win $10,000 from “America’s Funniest Home Videos,” the TV series (hosted by the late Bob Saget) that showcased footage of mishaps in the kitchen or someone getting a baseball to the groin in the front yard. His mother was determined to manufacture an accident with her five children that would win the top prize. The plan was for Moses to drop an egg onto his sister’s face. And using videotape from his childhood, he shows what happened. (You’ll have to watch the special to see if they won.)What begins as a farcical series of mistakes turns into something darker (more “Gypsy” than “Noises Off”) as his mother gets flustered at her small children for botching a comic bit. There’s something uncomfortable about the scene but also poignant. The context of her fury is clarified by Storm’s point that being short of money makes you afraid and desperate. This is the theme Storm works on best, the distorting cycle of poverty, the complex ways being poor keeps you poor.But the portrait of his mother feels unfinished, as if there’s more to say but he hasn’t figured out how to do it. The nuance of character can be funny and interesting, but too often it’s sacrificed for thin quips. “We were living in this terrible part of Florida called Florida,” he says, before fake laughing and adding, “No one’s ever made that joke before.” If it’s so hack, why keep it?The difference between solo shows and stand-up sets is not just the number of jokes, but also the expectations for plot and theme. Stand-up can get away with being a disconnected collection of setups and punch lines, but aiming for more should not be considered some kind of gimmick or affectation. It’s evolution. In a healthy comedy scene, there are many kinds of humor, some more dense with punch lines than others. Comedians like Mike Birbiglia have proved that not only do you not need to choose between stories and punch lines, but one can also support the other, although pulling it off isn’t easy. A joke can hit harder if there’s something behind it beyond a clever misdirection.Unlike Storm, I am happy to admit that I have an agenda. I want comics to make the best versions of the shows they set out to make, and that includes using words with precision. It also means fleshing out ideas without apology and sometimes challenging the audience. There is no one way to do comedy, but complexity, passion and ambition are always welcome. There’s much more to say on this, but for that, you will have to wait for my TED Talk. More

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      Woody Allen’s ‘Rifkin’s Festival’ Is Opening in U.S. Theaters

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      Following renewed scrutiny in recent years over the sexual abuse allegations against Woody Allen brought by his adopted daughter, it was unclear whether Allen’s latest film, “Rifkin’s Festival,” would get a U.S. theatrical release.Actors and producers in the United States have increasingly declined to work with Allen, but he has continued to find support in Europe. “Rifkin’s Festival” received backing from Spanish and Italian production companies and premiered at the San Sebastián Film Festival in Spain in 2020.Starting on Friday, “Rifkin’s Festival” will get a limited run in some theaters in the United States — the list is currently 25 theaters long, according to the movie’s website. The only theater in New York City that is signed up to show the film is Quad Cinema, in Greenwich Village.It is also available to stream on several platforms, including Amazon Prime Video, iTunes and Google Play.The sexual abuse allegations against Allen, 86, received a new wave of attention last year after HBO released its docuseries “Allen v. Farrow,” which examined Dylan Farrow’s accusation that he sexually assaulted her at the family’s Connecticut country house in 1992. Dylan and her mother, Mia Farrow, participated in the project, walking the filmmakers through the events of that time, including the prosecutor’s decision not to press charges against Allen to spare Dylan the trauma of a trial.Allen, who has long denied the allegations, called the series a “shoddy hit piece” that “had no interest in the truth.”“Rifkin’s Festival” is about an ex-film professor and struggling novelist who accompanies his publicist wife to a film festival in Spain (the same one that premiered the movie). The husband (played by Wallace Shawn) only goes to keep an eye on his wife (Gina Gershon) and her flirtations with a hotshot director.The critic Jessica Kiang reviewed the film for The New York Times after its premiere, and compared it favorably to Allen’s 2019 film “A Rainy Day in New York,” which was dropped by Amazon as scrutiny increased over Dylan Farrow’s allegations and ended up having a limited theatrical run in the United States. (Allen sued Amazon for terminating his four-picture deal; the company settled.)“‘Rifkin’s Festival’ is far less objectionable,” Kiang wrote, “and though that is praise so faint it needs smelling salts, with latter-day Woody Allen, we must be thankful for small mercies.”In recent years, some actors have said that they would not work with Allen because of Dylan Farrow’s allegations, but others have come to the director’s defense.In November, Shawn defended his decision to take the role, writing in an essay in The Wrap that he has been “troubled by the speed with which some of my colleagues in the acting fraternity have distanced themselves from Woody.”In a recent interview with WGN television station in Chicago, Gershon said she chose to work with Allen because he is a “genius.”“It serves no one to keep great artists from working, even the alleged victims, right?” she said.A representative for Dylan Farrow did not comment.Letty Aronson, Allen’s sister and a producer on the film, did not respond to requests for comment. More

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      How Joel Coen Made ‘The Tragedy of Macbeth’

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      When your whole filmmaking career has been one of unexpected twists and turns, how do you surprise yourself? Adapt a Shakespeare play.You make enough movies about people chasing after things — outlaws, money, a kidnapped baby — and eventually someone comes chasing after you. In Joel Coen’s case, his pursuer was William Shakespeare.As Coen put it recently, “Shakespeare is unavoidable.” He gave a resigned chuckle and added, “For better or worse.”In a filmmaking career of nearly 40 years, Coen has chronicled a spectrum of well-spoken criminals and enlightened dudes in stories inflected with varying amounts of brutality and absurdity. He has directed 18 features and written several others with his brother, Ethan.Having built a filmography characterized by unexpected twists and turns, Joel Coen has himself taken what may seem like a surprising pivot away from that body of work. His latest film, “The Tragedy of Macbeth,” is a shadowy and phantasmagoric rendition of the Shakespeare play, presented in black and white.The movie, released theatrically in December and on Apple TV+ earlier this month, stars Denzel Washington as the murderous nobleman of the title and Frances McDormand as his scheming spouse, Lady Macbeth. It has already received numerous postseason plaudits and is considered a strong contender for Academy Award nominations; reviewing the film for The New York Times, A.O. Scott called it a “crackling, dagger-sharp screen adaptation.”Coen is a dedicated theatergoer and an avid reader, though not one with any special knowledge of or affinity for Shakespeare. “I came to it as an amateur,” he said. “I’m still an amateur.”But look closer at “Macbeth,” and there are aspects of the play that make it fitting and perhaps inevitable subject matter for Coen. “It’s a murder story,” he said. “In a way, it’s even a horror story.”Denzel Washington and Frances McDormand in the film. Washington said Coen told him to avoid “stick-up-the-butt Shakespearean acting.” Alison Rosa/Apple and A24This somber tale may have proved an ideal escape for the director, coming at an unfamiliar juncture when Ethan had decided to take a break from film. Just when Joel was seeking new approaches to his cinematic craft as a solo director, his inspiration emerged from a foundational text of English literature.“It was a deliberate choice to do something I had not done,” Coen said. “It was an opportunity to go out of the wheelhouse that I’d been in before. It’s something that demanded I do that.”Coen, 67, was speaking earlier this month in a video interview from California. His demeanor suggested a mixture of Harold Ramis and Larry David; he could be avuncular and witty, but also defensive and averse to self-mythologizing.A kind of interplay between high and low, serious and preposterous, foul and fair would seem to be omnipresent in the Coen brothers’ filmography, which has won them four Oscars, but Joel is not necessarily inclined to consider the through lines in their work.He acknowledged that he and Ethan had made some quirky films over the years but said that “it was a mistake to think that any of it is planned.”He added, “There’s never been any real design or architecture to what we’ve done.”But even that absence of strategy was upended after their 2018 western anthology, “The Ballad of Buster Scruggs,” when Ethan decided to focus on other endeavors.Joel said that their partnership was flexible enough to accommodate this kind of disruption.“It’s not like when we first got together, we planned on working together for 40 years,” he said. “It just kind of happened that way. When we said, ‘Let’s do some other stuff separately for a little while,’ it’s not like there’s any plan for how long and what that would mean.”Joel said that making a movie without Ethan was like “having one eye put out” but added that there was “probably something healthy in taking a break.”At the very least, it gave Joel the space to contemplate alien terrain like “Macbeth.” This was a thought he’d been kicking around since at least 2016, when McDormand, his wife and frequent collaborator, asked him about directing a production of the play, in which she had starred for Berkeley Repertory Theater.Directing “Macbeth” for the stage did not appeal to Coen — “I don’t think I’d know what to do,” he said — but as a film, he saw its potential to allow him “to retreat from a lot of the ways I’d been working before.”“I wanted to go as far as I could away from realism and more towards a theatrical presentation,” he said. “I was trying to strip things away and reduce things to a theatrical essence, but still have it be cinema.”Coen and McDormand on the set. She is a producer on the film. The director explained, “I’ve always worked with members of the family.”Alison Rosa/Apple and A24On a visual level, that meant leaning into the ambiguities of Shakespeare’s play, avoiding depictions that would provide too much specificity about when or where things are taking place.“There is nothing certain about this movie, nothing sure about where it’s set,” said Bruno Delbonnel, the film’s cinematographer, who also worked with the Coens on “Buster Scruggs” and “Inside Llewyn Davis.”“We were creating this world where you never know if you’re looking up or down,” Delbonnel said. “You never know if it’s night or day.”That also meant digging down to find an essential Coen-ness in “Macbeth.” Carter Burwell, who has composed the scores for almost all the Coens’ films since their 1984 debut, “Blood Simple,” said that their movies are consistently concerned with “the pathos of people desperately trying to impose meaning on this life, this meaningless universe.”The stories they have told — including “The Tragedy of Macbeth” — put the viewer “in the position of seeing everything that’s going on and the poor characters being helpless,” Burwell said. “The characters think they’re smart, they think they’re on top of things. And we can see that, in fact, they’re just flailing helplessly.”Unlike, say, the brothers’ 2010 take on “True Grit” — when he deliberately did not watch the 1969 version — Joel Coen immersed himself in influences on “Macbeth”: He considered cinematic adaptations by Orson Welles and Roman Polanski, as well as Akira Kurosawa’s “Throne of Blood,” which transposes the drama to feudal Japan. He looked at films from Carl Dreyer, Masaki Kobayashi and F.W. Murnau, and read up on Edward Gordon Craig, the early 20th-century stage designer.And when paring down “Macbeth” to under two hours, Coen didn’t hesitate to unsheathe his sword, citing Welles’s 1948 version as a gold standard of sorts. “That’s a wacky movie,” Coen said. “Welles had no problem rearranging, cutting and inventing with Shakespeare. It was kind of liberating. You look at that and go, well, all right, he’s doing it.”McDormand, who has won three Oscars for her performances and a fourth as a producer of “Nomadland,” joined “Macbeth” as its leading lady and as a producer, for self-evident reasons. “I’ve always worked with members of the family,” Coen said.He had few words about the exit of Scott Rudin, who had produced Coen films like “No Country for Old Men” and “True Grit,” and who left this project and several others following a series of news media reports about his abusive behavior. “It’s a whole other discussion,” Coen said. “I don’t know what else to say.”Coen and Delbonnel spent several months designing the aesthetic of their “Macbeth” and planning the shots for when filming took place in Los Angeles. Delbonnel said that Coen brought him in much earlier and more extensively than in movies Joel had directed with Ethan.But in a fundamental way, Delbonnel said, Joel was no different than on previous films: “Sometimes he’ll ask you a question and say, ‘What do you think if we do that?’” Delbonnel said. “But then there’s a moment where he decides, OK, that’s what we’re going to do. And he knows exactly where it’s going.”Coen consulting with the cinematographer Bruno Delbonnel on a scene involving Kathryn Hunter. Nothing is certain in the film, not even where it’s set, Delbonnel said.Alison Rosa/Apple and A24Not that there was much hesitation in casting Washington, a two-time Academy Award winner, as the title character. Washington said he was just as eager for the role, as he’d never worked with either Coen but considered himself a fan of their “dangerous” films.“You’ll laugh or you’ll see somebody get their head blown off, possibly at the same time,” Washington said. “‘O Brother, Where Art Thou?’ is one of my favorite movies. I don’t even know why. It’s just so weird.”Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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      Directors Guild Nominations Focus on Veterans Like Jane Campion and Steven Spielberg

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      The Directors Guild of America announced its feature-film nominees on Thursday, recognizing Paul Thomas Anderson (“Licorice Pizza”), Kenneth Branagh (“Belfast”), Jane Campion (“The Power of the Dog”), Steven Spielberg (“West Side Story”) and Denis Villeneuve (“Dune”). Branagh is the category’s sole first-time nominee; the others have each been nominated by the guild before and Spielberg holds the record for most DGA wins with three.All five of the nominated directors also saw their films recognized earlier Thursday by the Producers Guild of America, which suggests they comprise the upper tier of this Oscar season’s best-picture contenders. The Directors Guild’s nominees also tend to match four out of five when it comes to the Oscars’ best-director category. Last year, only DGA pick Aaron Sorkin (“The Trial of the Chicago 7”) fell out; he was replaced in the Oscar nominations by Thomas Vinterberg (“Another Round”). The year before, the Oscars went for Todd Phillips (“Joker”) instead of Taika Waititi (“Jojo Rabbit”).Campion’s inclusion marks the first time in DGA history that women were nominated in back-to-back years: Last season, both Emerald Fennell (“Promising Young Woman”) and eventual winner Chloé Zhao (“Nomadland”) made the cut. And in the DGA category recognizing first-time filmmakers, four of the six nominees were women this year.Here is a rundown of the nominees in the major film and television categories. For the complete list, including commercials, reality shows and children’s programming, go to dga.org.FilmFeaturePaul Thomas Anderson, “Licorice Pizza”Kenneth Branagh, “Belfast”Jane Campion, “The Power of the Dog”Steven Spielberg, “West Side Story”Denis Villeneuve, “Dune”First-Time FeatureMaggie Gyllenhaal, “The Lost Daughter”Rebecca Hall, “Passing”Tatiana Huezo, “Prayers for the Stolen”Lin-Manuel Miranda, “Tick, Tick … Boom!”Michael Sarnoski, “Pig”Emma Seligman, “Shiva Baby”DocumentaryJessica Kingdon, “Ascension”Stanley Nelson, “Attica”Raoul Peck, “Exterminate All the Brutes”Ahmir “Questlove” Thompson, “Summer of Soul”Elizabeth Chai Vasarhelyi and Jimmy Chin, “The Rescue”TelevisionDrama series“Succession,” Kevin Bray (for the episode “Retired Janitors of Idaho”)“Succession,” Mark Mylod (“All the Bells Say”)“Succession,” Andrij Parekh (“What It Takes”)“Succession,” Robert Pulcini and Shari Springer Berman (“Lion in the Meadow”)“Succession,” Lorene Scafaria (“Too Much Birthday”)Comedy series“Hacks,” Lucia Aniello (“There Is No Line”)“Ted Lasso,” MJ Delaney (“No Weddings and a Funeral”)“Ted Lasso,” Erica Dunton (“Rainbow”)“Ted Lasso,” Sam Jones (“Beard After Hours”)“The White Lotus,” Mike White (“Mysterious Monkeys”)Television Movies and Limited Series“The Underground Railroad,” Barry Jenkins“Dopesick,” Barry Levinson (“First Bottle”)“Station Eleven,” Hiro Murai (“Wheel of Fire”)“Dopesick,” Danny Strong (“The People vs. Purdue Pharma”)“Mare of Easttown,” Craig Zobel More

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      Writers Guild Nominations: ‘Don’t Look Up,’ ‘Licorice Pizza’ and More

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      The path to the best-picture Oscar almost always winds its way through the screenplay categories, so Thursday’s feature-film nominations from the Writers Guild of America could clarify the top contenders of this awards season.But the list does come with some caveats. The organization has narrow requirements for eligibility that exclude films not written under a bargaining agreement from the WGA or its sister guilds, which is why you won’t see nominations for “Belfast” and “The Power of the Dog,” two movies that are hotly tipped as Oscar front-runners, in the screenplay categories. Other ineligible films include “The Lost Daughter,” “Passing,” “Cyrano” and international contenders like “A Hero,” “Drive My Car” and “Parallel Mothers.”With all that said, which films did make it in? The original-screenplay category is filled with previously nominated WGA favorites like Aaron Sorkin (“Being the Ricardos”), Adam McKay (“Don’t Look Up”), Paul Thomas Anderson (“Licorice Pizza”), and Wes Anderson (“The French Dispatch”), with Zach Baylin’s script for “King Richard” rounding out the race.In the adapted-screenplay category, three big-budget films were recognized: “Dune,” written by Jon Spaihts, Denis Villeneuve and Eric Roth; “West Side Story,” by Tony Kushner; and “Nightmare Alley,” by Guillermo del Toro and Kim Morgan. They’ll compete against Sian Heder’s script for her film “CODA” and “Tick, Tick … Boom!” by Steven Levenson.Winners of the WGA Awards will be announced during a ceremony on March 20. Here is the full list of nominations.Original Screenplay“Being the Ricardos,” Aaron Sorkin“Don’t Look Up,” Adam McKay“The French Dispatch,” Wes Anderson“King Richard,” Zach Baylin“Licorice Pizza,” Paul Thomas AndersonAdapted Screenplay“CODA,” Sian Heder“Dune,” Jon Spaihts, Denis Villeneuve and Eric Roth“Nightmare Alley,” Guillermo del Toro and Kim Morgan“Tick, Tick … Boom!,” Steven Levenson“West Side Story,” Tony KushnerDocumentary Screenplay“Being Cousteau,” Mark Monroe and Pax Wasserman“Exposing Muybridge,” Marc Shaffer“Like a Rolling Stone: The Life & Times of Ben Fong-Torres,” Suzanne Joe Kai More