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AdvertisementContinue reading the main storySupported byContinue reading the main storyWriting Native American Stand-Ups Into the History of ComedyAn author who specializes in unearthing forgotten figures argues for the importance of Charlie Hill, the first Indigenous comic to appear on “The Tonight Show.”The Oneida Nation comedian Charlie Hill on “The Tonight Show” when Jay Leno was the guest host in 1991.Credit…Gary Null/NBCU Photo Bank, via NBCUniversal, via, Getty ImagesFeb. 16, 2021, 3:08 p.m. ETTo the extent Will Rogers is known today, it’s as the folksy founding father of topical political comedy, the first comic to tell jokes about the president to an audience including the president. Woodrow Wilson apparently could take a joke.What’s often overlooked about the early-20th-century superstar is that he was Native American, a fact centered and explored in Kliph Nesteroff’s new book, “We Had a Little Real Estate Problem: The Unheralded Story of Native Americans & Comedy.” Nesteroff doesn’t just map a direct line from Rogers’s Cherokee roots to his political perspective; the author reintroduces Rogers as an altogether modern comic: moody, depressive, with uglier prejudices than his aw-shucks image would indicate.Nesteroff digs into an episode in which Rogers faced a backlash for using a racial slur about Black people on the radio in 1934. This led to denunciations in newspapers, protests and boycotts — with Rogers stubbornly doubling down a year before dying in a plane crash. “That story was scrubbed from history books,” Nesteroff told me in a video interview.In recent years, Nesteroff, 40 and often seen wearing a fedora, has carved out a niche as the premier popular historian of comedy because of his knack for unearthing such forgotten stories.A meticulous collector of showbiz lore, Nesteroff filled his 2015 book, “The Comedians: Drunks, Thieves, Scoundrels and the History of American Comedy,” with fascinating detours about obscure figures like Jean Carroll and Shecky Greene. One of his early articles that got attention was a 2010 blog post about Cary Grant’s enthusiasm for LSD. Then relatively unknown, the movie star’s drug use has since made its way into Vanity Fair and even a documentary.“Now I wouldn’t write about it,” Nesteroff said, saying he gets annoyed by histories that keep going over common knowledge: “I want to write about the details people don’t know.”Kliph Nesteroff has become something of a historian of stand-up.Credit…Jim HerringtonHis new book, which darts back and forth in time, is a sprawling look at Indigenous comedians, an overlooked branch of comedy. The book’s title (“We Had a Little Real Estate Problem”) is the punchline to a joke by the unsung hero of this narrative, the Oneida Nation comic Charlie Hill. (The setup: “My people are from Wisconsin. We used to be from New York.”) A contemporary of David Letterman and Jay Leno in the Los Angeles comedy scene of the 1970s, Hill was a handsome performer with superbly crafted jokes who became one of the few famous Indigenous stand-ups. Nesteroff writes that Hill was the first and only such comic on “The Tonight Show.”On his network television debut, on “The Richard Pryor Show,” Hill delivered a tight, five-minute set that skewered Hollywood stereotypes of Native Americans and described pilgrims as “illegal aliens,” likening them to house guests who won’t leave. Hill performed for three more decades and was a stalwart at the Comedy Store (although he barely received any airtime in the recent five-part documentary on the club), inspiring many Indigenous comics. “What Eddie Murphy was in the ’80s for young Black comics, that’s what Charlie Hill did for new young Indigenous comedians in the last 15 years,” Nesteroff said.And yet, while there are many more Native American comics today, including the members of the sketch troupe 1491 that Nesteroff chronicles in his book, mainstream opportunities remain scarce. “When we hear diversity in Hollywood, Native Americans are seldom included under that umbrella,” Nesteroff said. “That needs to change.”His book provides context for an argument about the importance of representation, detailing an exhaustive history of the racism suffered by Indigenous people in popular culture, tracking stereotypes of the stoic, humorless Native American from pulp fiction and animation (which was particularly egregious) to “I Love Lucy” and “Dances With Wolves.”Nesteroff begins his book describing growing up in Western Canada, where images of Indigenous artists, he says, are more common than in the United States. For years he worked as a stand-up comic, and confesses he still misses performing. He got sidetracked after his online posts about showbiz history drew attention. An appearance on Marc Maron’s podcast in 2013 led to his first book deal.Back then, he balked at being called a historian. “That’s what a boring person does,” Nesteroff said, summarizing his previous prejudice rooted in a checkered academic career. (He was expelled from high school for roasting teachers in a speech for school president.) But he has since embraced the term, even saying it’s “his role to educate people,” and he has done so as a talking head on CNN and Vice.Nesteroff still has the instincts of a comic. “I always go for the best story because I am still at heart an entertainer,” he said. “My biggest fear is being boring.”That’s evident from our conversation, which he packs with detail-rich stories and occasional impressions. When asked about his Hollywood neighborhood, he said he didn’t want to reveal it “because of internet fascists,” but immediately started explaining its showbiz history, including a building nearby where an actor from one of the cult director Ed Wood’s movies committed suicide. “People say L.A. doesn’t honor its history, but it’s not true when it comes to residential buildings,” he said. “It’s a status symbol to live in Greta Garbo’s old house. The house from ‘What Ever Happened to Baby Jane?’ was just put on the market.”Nesteroff prefers writing about the past over the present, but they often blur in his books. In “Real Estate,” he describes protests against white actors playing Native American roles dating all the way to the 1911 film “Curse of the Red Man,” which led to meetings between Indigenous delegations and President William Howard Taft that sound remarkably similar to current controversies. In another chapter, Nesteroff recounts an argument between Will Rogers and the journalist H.L. Mencken from the 1920s, about how much harm comedy can do, that could be taken from any number of podcasts today.Nesteroff finds that people are amazed to see history repeating itself — “it blows minds,” he said — but like a comic who knows not to make a punchline too on the nose, he declines to draw a connection with the current day. “I’d rather the reader discover it themselves,” he said, before adding that the echoes are definitely intentional.If there is one consistent theme from his intrepid reporting on the roots of comedy, it’s this: there’s less new under the sun than you think.AdvertisementContinue reading the main story More

#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyA Pakistani-American Tale Upends Expectations Onscreen and in LifeIram Parveen Bilal’s “I’ll Meet You There” depicts a parent who supports his daughter’s dream. The filmmaker’s own parents weren’t as sure about her passion.The director Iram Parveen Bilal said, “I was just frustrated with the constant oppressed-Muslim-woman situation that is always pushed forward” in media portrayals.Credit…Tracy Nguyen for The New York TimesFeb. 16, 2021, 1:39 p.m. ETIram Parveen Bilal’s newest feature, “I’ll Meet You There,” tells a novel story: A young Pakistani-American woman, Dua (played by Nikita Tewani), wants to pursue a career in dance, a path that would be frowned upon in Pakistan. Instead, her immigrant father, a Chicago police officer named Majeed, encourages her to follow her dream. At the same time, Majeed (Faran Tahir) is ordered to surveil a mosque — essentially to spy on his people, including his father, who has incidentally chosen now to visit from Pakistan.The film’s story lines signal a departure from how Muslims and South Asians have typically been depicted in American cinema: Parents are usually painted as oppressive and rigid. Women are given very little agency. And that’s, of course, assuming the exploration of Islam is not immediately linked to terrorism. Bilal’s film tells a story about being an American Muslim after the Sept. 11 attacks, an experience that can mean a cultural identity clash on multiple fronts.Bilal — who was born in the United States but grew up in Nigeria and Pakistan — wrote the script 10 years ago. But she began to raise financing in earnest in the early days of the Trump presidency. His administration’s travel ban, which affected immigrants from several Muslim-majority countries and has since been rescinded, horrified her and renewed her desire to present Muslims in a different light onscreen. The movie received largely positive reviews when it was selected for South by Southwest last year (before that festival was canceled because of the pandemic). On Friday, the film was released on major streaming platforms.“I do think I was just frustrated with the constant oppressed-Muslim-woman situation that is always pushed forward,” Bilal, 37, said in a recent phone interview, referring to media portrayals in Western television and film. “And all this sort of fresh but nuanced take is exactly why it has been so incredibly hard to get the film financed. Because that is not necessarily, I found, a narrative that was exciting for investors in the system to really support.”How Bilal entered filmmaking itself is a story of defying norms. When she arrived in the United States from Pakistan in 2000 at 17, she had a bright future virtually guaranteed. After qualifying for the Asian Physics Olympiad — an international physics competition — she received a full scholarship to attend the prestigious California Institute of Technology. She went on to earn an environmental science and engineering degree as well as the opportunity to pursue a stable, potentially lucrative career as a scientist — one that would make her South Asian parents, also scientists, proud.Many children of South Asian parents will find Bilal’s trajectory familiar, except for what happened next. She gave it all up after graduating. On a whim, Bilal opted to become a filmmaker, much to the bafflement of her parents, with whom art was never discussed. It was a profession she knew little about, except that she was sure that at heart she was a storyteller, not a scientist. She has since written and directed several short films and two other features.In a phone interview, she discussed her shift from science to filmmaking, and “I’ll Meet You There.” Here are edited excerpts:Nikita Tewani in a scene from “I’ll Meet You There.”Credit…Level ForwardWhen you were growing up, were your parents pressuring you to pursue science?My parents [started] from scratch. Their parents migrated from British India to Pakistan in the Partition and left everything. My father’s father ended up setting up a mechanic and auto workshop, and my mom’s father was a postmaster. For them, education was everything.How did they react to you leaving science to pursue filmmaking?They just weren’t sure that I was going to be able to make ends meet. My mother very clearly said filmmakers and people in this industry only succeed based on who they know and how much money they have. And she said, “We don’t know anybody.”Did your parents disapprove?My mother definitely disapproved, I think, for a really long time. She’d be sitting with the aunties and everybody would be talking about how their kids went to school and are now pursuing engineering or whatever corporate [job] — and she would just be like, “Yeah, Iram went to Caltech,” and then there would be silence. But now I think she’s understanding it, and they’re proud. It’s also just hard for them to understand what success is. For them, success is an Oscar.How has your science background informed your filmmaking?I fundamentally believe that the artist’s mind and the scientist’s mind are very similar because both are bent upon curiosity.In terms of the father-daughter relationship in the film, did you purposely try to subvert the expectations of what audiences have come to expect of South Asian depictions?The fact is that there are a lot of fathers out there in the world who are extremely sweet and positive to their daughters, and this exists. Even the grandfather, he’s still a very soft and sweet man. And I was kind of tired of seeing that narrative. I don’t think it was a conscious thing: “Oh OK, here’s that theme, let’s make it kind of the opposite.” I just think it was always another thing that I’ve often struggled with, that I feel that sometimes women have been conditioned to push the patriarchy more.What impact do you think the film can have today, especially after the Trump presidency?Anti-Muslim bigotry is very much present; communities of color are having to protect [themselves] even more in terms of surveillance. And the fact that this is a family that is just like yours — [the film can] basically humanize and connect so you don’t think of Muslims as unicorns, but they’re actually just like people you would know, like your neighbors. So we’re just hoping to provide another data point of what it means to be Muslim-American and hopefully create more similarities.Because at the bottom of all of this, this is a story about a family trying to reconnect. Yes, they happen to be Muslim. But it’s about secrets, it’s about intergenerational trauma, conflict, those things.AdvertisementContinue reading the main story More

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Erin Lee Carr, who is known for her HBO film that focuses on Larry Nassar’s sex abuse scandal, is uncovered to have been developing this project for Netflix.

Feb 16, 2021
AceShowbiz – Fans of Britney Spears will soon have another documentary about the pop superstar to tune into – filmmaker Erin Lee Carr has been working on a new project for Netflix.
The director, known for HBO film “At the Heart of Gold”, which examined the sex abuse scandal surrounding Larry Nassar, former physician for the U.S. Olympic gymnastics team, has been developing the new Britney documentary for months, reports Bloomberg.
Few details have been released about the forthcoming film, but the news emerges days after bosses at rival streaming service Hulu premiered the much-discussed “Framing Britney Spears”, which chronicled her rise to fame, her 2008 mental breakdown, and her ongoing conservatorship battle, noting how misogynistic the media coverage of her personal struggles became.

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The documentary, produced by officials at The New York Times and the FX network, prompted fans to turn on Britney’s ex, Justin Timberlake, for capitalising on their 2002 split as he launched his solo career, which even led to the singer/actor issuing a public apology last week, ends February 12.
Reports had also suggested Britney was planning to share her unfiltered side of the story in her own film, but sources close to the “Toxic” hitmaker have since dismissed the claims. A report also stated that “under her current conservatorship, she fears her father could take control of the film to paint himself in a better light.”
Meanwhile, in response to “Framing Britney Spears”, the singer wrote on social media, “Each person has their story and their take on other people’s stories !!!! We all have so many different bright beautiful lives Remember, no matter what we think we know about a person’s life it is nothing compared to the actual person living behind the lens !!!”

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During an appearance on Dax Shepard’s ‘Armchair Expert’ podcast, the ‘Eternals’ actress explains what bothered her upon learning that she had to shoot the scene with Antonio Banderas.

Feb 16, 2021
AceShowbiz – Salma Hayek was in tears throughout the making of her breakthrough film “Desperado” after learning she had to shoot an intimate scene with co-star Antonio Banderas.
The actress claims she had no idea she would have to fake sex with Banderas’ character and couldn’t stop thinking about how the scene would embarrass her family.
“When we were going to start shooting, I started to sob, saying, ‘I don’t know that I can do it. I’m afraid’,” Salma told Dax Shepard during an appearance on his “Armchair Expert” podcast.
“One of the things I was afraid of was Antonio. He was an absolute gentleman and so nice, and we’re still super close friends, but he was very free. It scared me that, for him, it was, like, nothing. I started crying, and he was like, ‘Oh my God. You’re making me feel terrible.’ I was so embarrassed that I was crying.”

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Hayek also insisted director Robert Rodriguez was “amazing” and never put any pressure on his young star to get naked or do anything which made her feel uncomfortable.
“They would try to make me laugh… We got through it. We did the best with what we could do at the time. When you’re not you, then you can do it, but I keep thinking of my father and my brother (sic): ‘And are they going to see it? And are they going to get teased?'”
During the interview, Salma also responded to claims that suggested she married her French billionaire Francois-Henri Pinault husband for his “money.” Gushing over him, the actress said, “He’s made me become a much better person, and grow in such a good, healthy way,” the Oscar nominee continued raving. “And you know when I married him, everybody said, ‘Oh, it’s an arranged marriage, she married him for the money.’ I’m like, ‘yeah, whatever, b***h.’ Think what you want: 15 years together, and we are strong in love.”

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Johnny Galecki Disagrees With Ex Kaley Cuoco for Deeming Life ‘Boring’ Before Meeting Her Husband

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#masthead-section-label, #masthead-bar-one { display: none }At HomeMake: BirriaExplore: ‘Bridgerton’ StyleParent: With ImprovRead: Joyce Carol OatesAdvertisementContinue reading the main storySupported byContinue reading the main storyA Bored China Propels Box Office Sales to a Record“Detective Chinatown 3” received tepid reviews, but Covid-19 travel restrictions drove many to the movies when they might have been journeying to their hometowns instead.“Detective Chinatown 3” raked in a record-breaking $397 million over three days in China, according to estimates, as millions went to movies there during the Lunar New Year holiday.Credit…Gilles Sabrié for The New York TimesFeb. 16, 2021, 4:18 a.m. ETHundreds of millions of people are stuck in cities around China during this Lunar New Year holiday, as coronavirus restrictions put a halt to a travel season that is usually the world’s largest annual migration. Instead, they are going to the movies — and powering a blowout resurgence at the box office.“Detective Chinatown 3,” the latest installment in a long-running buddy cop series, raked in an estimated $397 million over three days, according to Maoyan, which tracks ticket sales in the country. That set a world record for the largest opening weekend in a single market. The previous record-holder, “Avengers: Endgame,” took in $357 million in its weekend opening in the United States and Canada in 2019.The strong showing was a forceful reminder of the power of the Chinese consumer. While the Chinese economy has come roaring back as the country has largely tamed the coronavirus, shoppers and moviegoers have been slower to open their wallets.Now, people like Sophia Jiang are ready to spend, even on a movie that has received tepid reviews.Over the Lunar New Year holiday, Ms. Jiang, a 40-year-old freelance writer, would typically go with her parents to their hometown in the northern province of Jilin. But the authorities imposed restrictions on visits to ancestral homes this year to stem any coronavirus outbreaks. Photos circulating on Chinese social media showed eerily empty railway cars at a time when travelers are usually packed shoulder to shoulder.Stuck in the southern city of Shenzhen, Ms. Jiang has gone to the movies three times so far during the seven-day holiday, which ends on Wednesday. “Detective Chinatown 3,” she said, was the worst of the bunch.“The story wasn’t that bad,” Ms. Jiang said, “but it wasn’t particularly amazing either, and I fell asleep twice.”The film’s release was held for a year because of the pandemic. Credit…Gilles Sabrié for The New York TimesQuality aside, China’s booming box office returns offered a promising sign for the global film industry, which has seen movie theaters large and small decimated by the pandemic and has been racked with concerns about the future of moviegoing.By Tuesday morning, China’s total box office takings for the new year had reached $1.55 billion, according to local box office trackers. By contrast, total ticket sales last year in the United States, where many theaters are hanging on for survival, totaled $2.2 billion.“Some have argued that, during the pandemic, people have become accustomed to watching online entertainment at home,” Jane Shao, president of Lumière Pavilions, a Chinese movie theater chain, said in a telephone interview. “But I think this is proof that movie theaters are an effective venue for social gatherings.”Ms. Shao, who oversees 40 cinemas across 26 cities in China, said the Lunar New Year box office returns were like “night and day” compared to last year, when the outbreak of the virus in Wuhan prompted the government to close theaters at the start of the holiday. Recovery had been slow, she said, but the recent numbers have been encouraging.“It was a devastating year for our industry, but people have been thrilled to come back to the theaters,” Ms. Shao said.“Detective Chinatown 3” had initially been slated for release during last year’s holiday. China’s theaters for the most part reopened in July, but most have been limited over this month’s holiday to 75 percent seating capacity, and only 50 percent in areas like Beijing, which have recently seen small outbreaks.Theaters have been instructed not to sell concessions, further eating into profits. Movie ticket prices over the holiday were higher than usual, helping to overcome the gap.The film features two bumbling detectives, played by Wang Baoqiang and Liu Haoran, who go to Tokyo to investigate the murder of a powerful businessman. Online, audiences criticized its excessive product placement advertising, scenes of abuse against women and scattered plot threads. But the movie benefited from the strong brand recognition of the “Detective Chinatown” franchise.The Lunar New Year holiday has traditionally been a coveted window for film releases, and moviegoers, like these in Beijing, had a diverse selection from which to choose.Credit…Gilles Sabrié for The New York TimesThe Lunar New Year holiday has traditionally been a coveted window for film releases, and moviegoers had a more diverse selection to choose from than in past years. Coming in second place over the weekend was “Hi, Mom,” a time-travel comedy that grossed $161.9 million, according to Maoyan. “A Writer’s Odyssey,” an adventure film, took third place, with $48.4 million.Rudolph Tang, 41, a classical music critic, said he had seen all three. But he said he felt especially compelled to watch “Detective Chinatown 3” in part because he remembered seeing a poster for the movie on the facade of the historic Grand Cinema in Shanghai at the height of China’s coronavirus outbreak a year ago, when the normally bustling streets had been emptied and cinemas closed.“Seeing the film brought back a lot of memories of the hardship that people have been through,” Mr. Tang said in a telephone interview. “I felt like I was making a statement that the scar has healed in China and that people can return to cinemas now and watch movies.”Last year, box office revenue totaled $3.13 billion in China, making it the world’s largest movie market, ahead of the United States. But it is not clear whether the Chinese film industry’s early momentum this year can propel it beyond its performance of 2019, when it posted $9.2 billion in sales.China’s box office success will depend partly on Hollywood’s pace of recovery. Though domestic productions have been on the rise, China still has a large appetite for Hollywood films, and many theater managers are hoping that titles like “No Time to Die,” the latest Bond film, and Disney’s “Black Widow” stay on schedule for theatrical releases later this year.It is also unclear what role the unique circumstances of this year’s Lunar New Year holiday might have played in the weekend’s impressive box office performance. Air travel was down 72 percent in the first week of the holiday travel period compared to the same time last year, according to Chinese state media. Train travel was down by 68 percent in the first two weeks of the travel season compared to last year.Still, the phenomenon of going to the movies over the Lunar New Year holiday appears to be here to stay.“Celebrating Lunar New Year in China has traditionally meant setting off firecrackers, eating dumplings and watching the Spring Festival Gala,” said Yin Hong, a film professor at Tsinghua University in Beijing. “Now, more and more, going to the movies with family is being incorporated into that tradition.”Though domestic productions have been on the rise, China still has a large appetite for Hollywood films, like Ant-Man.Credit…Gilles Sabrié for The New York TimesCoral Yang and Liu Yi contributed research.AdvertisementContinue reading the main story More

Apple Original Films

Set to premiere on February 26, ‘Billie Eilish: The World’s a Little Blurry’ promises to offer a deeply intimate look at the ‘Therefore I Am’ hitmaker’s rise to global superstardom.

Feb 16, 2021
AceShowbiz – Billie Eilish “cried out of joy” after watching her Apple TV+ documentary.
The 19-year-old pop megastar banned her family – including her sibling and regular collaborator FINNEAS – from seeing “Billie Eilish: The World’s a Little Blurry” until she had seen it herself, because she thought she’d be “mortified” by some of the scenes.
However, she actually felt elated by how it captured what she was going through in “such a beautiful, intimate way”.
In a new clip advertising the film, Billie said, “We were in my living room. I was like, ‘Nope, nobody’s allowed to see it — not my family — nobody’s allowed to see it until I’ve seen it, cos I knew there was some stuff in there that I was gonna be mortified by.”
“S**t happened. I had a stomachache the entire day, but I cried out of joy for a lot of it. I never would have thought that anyone would be able to capture exactly what was going on in such a beautiful, intimate way.”

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The “Therefore I Am” hitmaker – who has been open about her battle with depression and suicidal thoughts – recently admitted it was “pretty brutal to relive” some of the moments.
“It’s really about my life, me, in such a way that I was not expecting, and was pretty brutal to relive,” she said. “I was going through hell in certain parts of my life, and I had no idea anyone was seeing it. The fact that they have footage of it and you can see my emotions…”.

A press release states that the R.J. Cutler-helmed documentary “tells the true coming-of-age story of the singer-songwriter and her rise to global superstardom … the documentary offers a deeply intimate look at this extraordinary teenager’s journey, at just 17 years old, navigating life on the road, on stage, and at home with her family, while writing, recording and releasing her debut album ‘When We All Fall Asleep, Where Do We Go?'”
“Billie Eilish: The World’s a Little Blurry” is set to premiere on February 26.

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Director Christopher McQuarrie, in the meantime, shuts down reports that the seventh movie in the action franchise had been disrupted again by COVID-19 pandemic-related travel issues.

Feb 16, 2021
AceShowbiz – Tom Cruise’s seventh and eighth outings as Ethan Hunt in the “Mission: Impossible” franchise will no longer be filming back to back.
The action star and director Christopher McQuarrie have been battling COVID-related dramas to complete the seventh movie in the popular series, and now Deadline sources have revealed Paramount bosses have rescheduled plans to shoot “Mission: Impossible VIII”.
That’s partly because Cruise won’t be able to film while promoting “Top Gun: Maverick”, which is set for release on July 2.
He is expected to pick up the eighth “Mission: Impossible” movie later this year.

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Meanwhile, in an Instagram post on Sunday, February 14, McQuarrie shot down U.K. tabloid reports suggesting “Mission: Impossible VII” had been disrupted again by pandemic-related travel issues. Instead, the filmmaker revealed the cast and crew had completed filming in the Middle East and were on their way back to London to apply a few “finishing touches.”

Prior to this, it was reported that production was halted as some people refused to work and demanded to head back to the U.K. before the country’s new travel restrictions are implemented. An insider explained, “The whole production has hit yet another issue and there have been revolts among the cast and crew.”
“For quite a few of them, the prospect of having to quarantine in a hotel back in the U.K. is a step too far and they’ve demanded to be flown home before the rules change. The studio has had to fund a jet back and the missing cast and crew will inevitably cause another delay,” the source added. “It was hoped that filming in the UAE would provide some flexibility but that changed when the UK shut its borders.”
“Mission: Impossible VII” is still on track to hit cinemas in mid-November, while “Mission: Impossible VIII” remains on the calendar for early November, 2022.

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Chrissy Teigen Likens Self to ‘Juicy Blow Up Doll’ After Suffering From Extreme Allergic Reaction

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The actress playing Alice in Olivia Wilde’s latest directorial effort salutes grips, catering officials and camera operators for keeping everyone safe during production amid COVID-19 pandemic.

Feb 16, 2021
AceShowbiz – Florence Pugh celebrated the end of filming on Olivia Wilde’s latest directorial effort, “Don’t Worry Darling”, by posting a photo of the crew and raving about her experience on set.
Pugh starred alongside new couple Wilde and Harry Styles in the film, and as it wrapped over the weekend, she decided to salute grips, catering officials, and camera operators, who kept everyone safe during COVID.
In an Instagram post on Sunday (February 14), the actress wrote, “It’s official, it’s a wrap! Yesterday was our final day on the set of ‘Don’t Worry Darling’ and I wanted to give you all some insight… – these are some of the people who made this movie happen. This is our talented crew.”
“The grips, the gaffer, the electrics, set PA’s (personal assistants), sound mixer, prop masters, location scouts, location manager, production designer, art department, crafty, catering, stand ins, stunt coordinator, stunt women, stunt men, medic, COVID compliance officers and managers, camera operators, camera assistants, Director of photography, security, transportation team, script supervisor, hair artists, makeup artists, costume designers, costume dressers, boom operators, producers, writer, Director, 1st AD’s, 2nd AD’s, 3rd AD’s. This list goes on and on and on, the length of the rolling words and names at the end of when watching movie.”
“We were very aware what it meant when we all agreed to this job. It was a COVID movie. One that could get shut down at any moment and of course, we did. However, despite these new shooting restrictions and guidelines, I can’t tell you how energised these people in my photos have been.”

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“How inspired, how hard working no matter what the circumstances. We’ve had people leave and people join and each time we’ve been met by beautiful, crazy talented beings. Despite the new on set rules, every single person delivered their A game and it’s the many long list of names like those above and in the credits at the end of movies that actually get this hard, messy, fun weird job done.”
“So… one final thank you to this amazing crew. You are the best bunch of jammy jammy dodgers and we are so grateful for you! I look forward to watching what we made.”

Meanwhile, Wilde shared snaps from the set with cinematographer Matthew Libatique, who she hailed her “hero.”

She wrote on Instagram, “My co-conspirator and hero. We did it. It wasn’t easy. But we f**king did the damn thing. Love you, Matty.”

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