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    James Bond Movie 'No Time to Die' Officially Postponed Due to Coronavirus

    Universal Pictures

    The global coronavirus pandemic has prompted the James Bond bosses to move back the international release of the upcoming 007 feature film from April to November.
    Mar 5, 2020
    AceShowbiz – The coronavirus spread has forced James Bond bosses to rethink the release of their latest movie, “No Time to Die”.
    The global pandemic has already prompted producers to scrap an upcoming Beijing premiere in China and Asian press tour, and now they’re rescheduling the U.K., U.S. and international release dates in April 2020 following requests to delay the film’s launch from fans online.
    MGM, Eon and Universal executives have agreed to postpone “No Time to Die” and release the movie at the end of November.
    A statement given exclusively to Deadline reads, “MGM, Universal and Bond producers, Michael G Wilson and Barbara Broccoli, announced today that after careful consideration and thorough evaluation of the global theatrical marketplace, the release of No Time to Die will be postponed until November 2020.”
    “The film will be released in the U.K. on November 12, 2020 with worldwide release dates to follow, including the U.S. launch on November 25, 2020.”
    The decision comes in the wake of an open letter sent to Bond bosses from the writers of the MI6-HQ fansite, encouraging the studio executives to “put public health above marketing release schedules.”
    “With a month to go before No Time to Die opens worldwide, community spread of the virus is likely to be peaking in the United States,” the letter read. “Today, Washington declared a state of emergency. There is a significant chance that cinemas will be closed, or their attendance severely reduced, by early April.”
    Urging producers to consider delaying the release instead, the missive continues, “It’s just a movie. The health and well-being of fans around the world, and their families, is more important. We have all waited over four years for this film. Another few months will not damage the quality of the film and only help the box office for Daniel Craig’s final hurrah.”
    Craig will be stepping down as 007 after the film’s release.

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    Jason Statham Leaves 'Man From Toronto' Due to Creative Issues

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    The ‘Fast and Furious Presents: Hobbs and Shaw’ actor has allegedly pulled out of his new movie because he wants an R-rated movie while the studio leans towards a PG-13 release.
    Mar 5, 2020
    AceShowbiz – Jason Statham has reportedly pulled out of his role in “The Man From Toronto” just four weeks from the start of production.
    According to Deadline, the 52-year-old actor is exiting the project due to “creative issues,” including a desire for the film to be R rated as opposed to the studio’s plans for a PG-13 release.
    However, the studio is reportedly already working on a replacement for Statham in the action-comedy film, which also stars Kevin Hart and will be directed by Patrick Hughes.
    The “Fast & Furious Presents: Hobbs & Shaw” star was due to play the world’s deadliest assassin, the “Man from Toronto” of the title, alongside the “Jumanji: The Next Level” funnyman. Their characters are mistaken for each other, at a rented New York Airbnb pad, and are forced to team up for a mission.
    The film is slated for a November 20, 2020 release.

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    Phoebe Waller-Bridge and James McAvoy Among Top Nominees at 2020 Olivier Awards

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    ‘And Juliet’, the William Shakespeare-inspired musical, leads the pack with nine nominations, while ‘Fleabag’ vies for the Noel Coward Award for Best Entertainment or Comedy Play award.
    Mar 4, 2020
    AceShowbiz – Phoebe Waller-Bridge, James McAvoy and Wendell Pierce are among the stars who have secured top nominations for the 2020 Olivier Awards.
    Waller-Bridge’s show “Fleabag” is up for the Noel Coward Award for Best Entertainment or Comedy Play award, while she is nominated for Best Actress for her performance as the title character.
    In the Best Actress section she is up against Hayley Atwell (“Rosmersholm”), Sharon D. Clarke (“Death of a Salesman”) and Juliet Stevenson (“The Doctor”).
    McAvoy (“Cyrano de Bergerac”) and Pierce (“Death of a Salesman”) are nominated for the Best Actor prize. The other nominees are Toby Jones (“Uncle Vanya”) and Andrew Scott, who starred in the TV version of “Fleabag”, for Present Laughter.
    Andy Nyman (“Fiddler on the Roof”), Charlie Stemp (“Mary Poppins”), Sam Tutty (“Dear Evan Hansen”) and Jac Yarrow (“Joseph and the Technicolor Dreamcoat”) are up for Best Actor in a Musical.
    Those up for Best Actress in a Musical are Audrey Brisson (“Amelie The Musical”), Judy Kuhn (“Fiddler on the Roof”), Miriam-Teak Lee (“& Juliet”) and Zizi Strallen (“Mary Poppins”).
    Another notable nominee is Petula Clark, last Olivier-nominated in 1981, who receives a nod for Best Supporting Actress in a Musical for her role as the Bird Woman in “Mary Poppins”.
    The William Shakespeare inspired musical “& Juliet” leads with the most nominations, with nine, including Best New Musical. The awards will be handed out in a ceremony at London’s Royal Albert Hall on 5 April, with British comedian Jason Manford hosting.
    The full list of nominees is as follows:
    Best Actor in a Supporting Role in a Musical:
    David Bedella for “& Juliet” at Shaftesbury Theatre
    Stewart Clarke for “Fiddler on the Roof” at Playhouse Theatre
    Jack Loxton for “Dear Evan Hansen” at Noel Coward Theatre
    Rupert Young for “Dear Evan Hansen” at Noel Coward Theatre
    Best Actress in a Supporting Role in a Musical:
    Lucy Anderson for “Dear Evan Hansen” at Noel Coward Theatre
    Petula Clark for “Mary Poppins” at Prince Edward Theatre
    Cassidy Janson for “& Juliet” at Shaftesbury Theatre
    Lauren Ward for “Dear Evan Hansen” at Noel Coward Theatre
    Best Original Score or New Orchestrations:
    “& Juliet” – New Orchestrations by Bill Sherman and Dominic Fallacaro at Shaftesbury Theatre
    “Amelie the Musical” – Musical Supervisor and Arrangements by Barnaby Race at The Other Palace
    “Dear Evan Hansen” – Music and Lyrics by Benj Pasek and Justin Paul, Orchestration by Alex Lacamoire at Noel Coward Theatre
    “Fiddler on the Roof” – New Orchestrations by Jason Carr at Playhouse Theatre
    “Waitress” – Music and Lyrics by Sara Bareilles at Adelphi Theatre
    Best New Dance Production:
    “La Fiesta” by Israel Galvan at Sadler’s Wells
    “Ingoma” by Mthuthuzeli November for Ballet Black at Royal Opera House – Linbury Theatre
    “MAM” by Michael Keegan-Dolan for Teac Daṁsa at Sadler’s Wells
    “Vessel” by Damien Jalet & Kohei Nawa at Sadler’s Wells
    Outstanding Achievement in Dance:
    Sara Baras for her choreography and performance in Ballet Flamenco – Sombras at Sadler’s Wells
    Anne Teresa De Keersmaeker for her performance in Mitten Wir Im Leben Sind/Bach6Cellosuiten at Sadler’s Wells
    Gisele Vienne for her choreography of Crowd, presented by Dance Umbrella at Sadler’s Wells
    Noel Coward Award for Best Entertainment or Comedy Play:
    “Emilia” at Vaudeville Theatre
    “Fleabag” at Wyndham’s Theatre
    “Magic Goes Wrong” at Vaudeville Theatre
    “The Upstart” Crow at Gielgud Theatre
    Best Theatre Choreographer:
    Fabian Aloise for “Evita” at Regent’s Park Open Air Theatre
    Matthew Bourne and Stephen Mear for “Mary Poppins” at Prince Edward Theatre
    Jerome Robbins and Matt Cole for “Fiddler on the Roof” at Playhouse Theatre
    Jennifer Weber for “& Juliet” at Shaftesbury Theatre
    Magic Radio Best Musical Revival:
    “Evita” at Regent’s Park Open Air Theatre
    “Fiddler on the Roof” at Playhouse Theatre
    “Joseph and the Amazing Technicolor Dreamcoat” at The London Palladium
    “Mary Poppins” at Prince Edward Theatre
    Best Actor in a Musical:
    Andy Nyman for “Fiddler on the Roof” at Playhouse Theatre
    Charlie Stemp for “Mary Poppins” at Prince Edward Theatre
    Sam Tutty for “Dear Evan Hansen” at Noel Coward Theatre
    Jac Yarrow for “Joseph and the Amazing Technicolor Dreamcoat” at The London Palladium
    Best Actress in a Musical:
    Audrey Brisson for “Amelie the Musical” at The Other Palace
    Judy Kuhn for “Fiddler on the Roof” at Playhouse Theatre
    Miriam-Teak Lee for “& Juliet” at Shaftesbury Theatre
    Zizi Strallen for “Mary Poppins” at Prince Edward Theatre
    Cunard Best Revival:
    “Cyrano De Bergerac” at Playhouse Theatre
    “Death of a Salesman” at Young Vic and Piccadilly Theatre
    “Present Laughter” at The Old Vic
    “Rosmersholm” at Duke of York’s Theatre
    Best Family Show:
    “Mr Gum and the Dancing Bear – The Musical!” at National Theatre – Dorfman
    “Oi Frog & Friends!” at Lyric Theatre
    “To the Moon and Back” at Barbican Theatre
    “The Worst Witch” at Vaudeville Theatre
    Outstanding Achievement in an Affiliate Theatre:
    “Baby Reindeer” at Bush Theatre
    “Blues in the Night” at Kiln Theatre
    “Our Lady of Kibeho” at Theatre Royal Stratford East
    “Seven Methods of Killing Kylie Jenner at Jerwood Theatre Upstairs” at the Royal Court Theatre
    “Warheads” at Park Theatre
    White Light Award for Best Lighting Design:
    Neil Austin for “Rosmersholm” at Duke of York’s Theatre
    Paule Constable for “The Ocean at the End of the Lane” at National Theatre – Dorfman
    Howard Hudson for “& Juliet” at Shaftesbury Theatre
    Bruno Poet for “Uncle Vanya” at Harold Pinter Theatre
    Royal Albert Hall Award for Best Sound Design:
    Gregory Clarke for Rosmersholm at Duke of York’s Theatre
    Emma Laxton for Emilia at Vaudeville Theatre
    Ben and Max Ringham for ANNA at National Theatre – Dorfman
    Ben and Max Ringham for Cyrano De Bergerac at Playhouse Theatre
    Best Costume Design:
    Hugh Durrant for “Goldilocks and the Three Bears” at The London Palladium
    Jonathan Lipman for “Fiddler on the Roof” at Playhouse Theatre
    Joanna Scotcher for “Emilia” at Vaudeville Theatre
    Paloma Young for “& Juliet” at Shaftesbury Theatre
    Blue-I Theatre Technology Award for Best Set Design:
    Bob Crowley for “Mary Poppins” at Prince Edward Theatre
    Soutra Gilmour for “& Juliet” at Shaftesbury Theatre
    Rae Smith for “Rosmersholm” at Duke of York’s Theatre
    Rae Smith for “Uncle Vanya” at Harold Pinter Theatre
    Best Actor in a Supporting Role:
    Arinze Kene for “Death of a Salesman” at Young Vic
    Colin Morgan for “All My Sons” at The Old Vic
    Adrian Scarborough for “Leopoldstadt” at Wyndham’s Theatre
    Reece Shearsmith for “A Very Expensive Poison” at The Old Vic
    Best Actress in a Supporting Role:
    Michele Austin for “Cyrano De Bergerac” at Playhouse Theatre
    Sophie Thompson for “Present Laughter” at The Old Vic
    Indira Varma for “Present Laughter” at The Old Vic
    Josie Walker for “The Ocean at the End of the Lane” at National Theatre – Dorfman
    Best New Opera Production:
    “Berenice” at Royal Opera House – Linbury Theatre
    “Billy Budd” at Royal Opera House
    “Hansel and Gretel” at Regent’s Park Open Air Theatre
    “Noye’s Fludde” at Theatre Royal Stratford East
    Outstanding Achievement in Opera:
    Jette Parker Young Artists for their performances in “Berenice”, “Death in Venice” and “Phaedra” at Royal Opera House
    The Children’s Ensemble for their performance in “Noye’s Fludde” at Theatre Royal Stratford East
    Martyn Brabbins and James Henshaw for their conducting of “The Mask of Orpheus” for English National Opera at London Coliseum
    Best Actor:
    Toby Jones for “Uncle Vanya” at Harold Pinter Theatre
    James McAvoy for “Cyrano De Bergerac” at Playhouse Theatre
    Wendell Pierce for “Death of a Salesman” at Young Vic and Piccadilly Theatre
    Andrew Scott for “Present Laughter” at The Old Vic
    Best Actress:
    Hayley Atwell for “Rosmersholm” at Duke of York’s Theatre
    Sharon D. Clarke for “Death of a Salesman” at Piccadilly Theatre
    Juliet Stevenson for “The Doctor” at Almeida Theatre
    Phoebe Waller-Bridge for “Fleabag” at Wyndham’s Theatre
    Sir Peter Hall Award for Best Director:
    Marianne Elliott and Miranda Cromwell for “Death of a Salesman” at Young Vic and Piccadilly Theatre
    Jamie Lloyd for “Cyrano De Bergerac” at Playhouse Theatre
    Trevor Nunn for “Fiddler on the Roof” at Playhouse Theatre
    Ian Rickson for “Uncle Vanya” at Harold Pinter Theatre
    American Airlines Best New Play:
    “A Very Expensive Poison” at The Old Vic
    “The Doctor” at Almeida Theatre
    “Leopoldstadt” at Wyndham’s Theatre
    “The Ocean at the End of the Lane” at National Theatre – Dorfman
    Mastercard Best New Musical:
    “& Juliet” at Shaftesbury Theatre
    “Amelie” The Musical at The Other Palace
    “Dear Evan Hansen” at Noel Coward Theatre
    “Waitress” at Adelphi Theatre

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    Pharrell, Sean Penn and DMX Documentaries to Be Premiered at Tribeca Film Festival 2020

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    Robert De Niro’s annual Big Apple event will also feature Migos-produced documentary ‘Ice Cold’ and John Legend’s film about civil rights activist Tommie Smith ‘With Drawn Arms’ among many others.
    Mar 4, 2020
    AceShowbiz – Documentaries about Pharrell Williams, Sean Penn, and DMX are set to receive their world premieres at New York’s Tribeca Film Festival.
    “Hydration”, a concert film directed by Mimi Valdes and chronicling Pharrell’s inaugural Something in the Water festival in his native Virginia last year (19), will be screened in the Spotlight Documentary section of Robert De Niro’s annual Big Apple event, as will “Brian Wilson: Long Promised Road”, a “nonlinear cinematic memoir” which follows The Beach Boys co-founder on a drive around Los Angeles with his longtime friend and Rolling Stone editor, Jason Fine.
    “Citizen Penn” focuses on “Milk” actor Sean’s ongoing humanitarian work in Haiti, and “Don’t Try to Understand” will take viewers on a year in the life of troubled rapper DMX.

    The 2020 Tribeca Film Festival will also feature “Ice Cold”, a documentary about jewellery in hip-hop culture, produced by rap trio Migos, as well as “Somebody Up There Likes Me”, a project based on a series of intimate conversations with The Rolling Stones rocker Ronnie Wood.

    John Legend will premiere “With Drawn Arms”, a film he executive produced about Olympian and civil rights activist Tommie Smith, and his model and TV personality wife, Chrissy Teigen, will also be in attendance to launch “Fries! The Movie” – a film all about French fries – with fellow producer Malcolm Gladwell.
    Other festival highlights include “Stardust”, starring Johnny Flynn as the late David Bowie, Hugh Jackman’s “Bad Education”, and Judd Apatow’s “The King of Staten Island”, featuring comedian Pete Davidson.
    The 2020 Tribeca Film Festival will take place from 15 to 26 April.

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    For Questlove, ‘Soul Train’ Is His Happy Place

    “I’m a world-famous celebrity hoarder,” says Ahmir “Questlove” Thompson, a founding member of The Roots and current bandleader and drummer on “The Tonight Show Starring Jimmy Fallon.” “I have about 15 storage spaces, so basically I’m a firm believer in throwing nothing away.”Given that Questlove needs nine of those storage spaces just to hold his 170,000-piece record collection, it was a daunting task to narrow his cultural enthusiasms down to just 10 essentials. But he took a break from his forthcoming directorial debut, a documentary tentatively titled “Black Woodstock,” to give it a try. These are edited excerpts from the conversation.1. “Soul Train” EpisodesThere’s a story I often tell about this time when Prince fired me at a D.J. gig and opted to put “Finding Nemo” on instead. I thought it was a joke. I was like, we’re in a nightclub right now — you’re really just going to cut the music off halfway and put on Ellen DeGeneres and Albert Brooks? And that’s exactly what he did. Like, full blast. His assistant explained to me, “‘Finding Nemo’ is Prince’s aquarium.” Wherever he was, there was required to be a television monitor, and “Finding Nemo” was supposed to be on in the background. That was his happy place.Once I heard that, then I understood what the 600-plus episodes of “Soul Train” that I own are for me. Normally I just have them with the volume down and playing on random, kind of like a playlist or a mixtape. Before my girlfriend moved into the house, I would say that those 600 episodes of “Soul Train” had played on shuffle without ever being turned off. I’m surprised that this television hasn’t exploded yet. Only until this year have I learned to sleep in total darkness. At one point, all three televisions in the house would have “Soul Train” on loop, as though it were an aquarium. A Soul Aquarium.2. Hassan Hajjaj PaintingsIn the last year and a half, I’ve started an art collection. I thought that was just for snobby, well-to-do older people or college professors. And then I realized that that’s exactly what I’ve become. My girlfriend kind of assisted me in this, because she’s way more knowledgeable.One piece I have is by a Moroccan artist, Hassan Hajjaj. Because he’s been dubbed the Andy Warhol of Marrakesh, all of his art is adorned with fake soup cans. We actually have two pieces here, and I look at them when I wake up in the morning and just sort of get lost in them.3. Oasa DuVerneyAnother artist I love is Oasa DuVerney. We have this really stark black piece that she made for us that I can’t really describe. Have you ever seen that Barnett Newman piece that’s all blue? It’s sort of like that, but a texturized black version of it. It’s inspirational to look at.4. Frank William Miller Jr. T-shirtsI’m trying to dress my age, but it’s hard to give up T-shirts. There’s a designer that I really love. His name is Frank William Miller Jr. — his tag is FWMJ.com. He makes a lot of controversial political T-shirts, and if I’m not wearing my suits and stuff that I have to wear for “The Tonight Show,” I’ll say that 70 percent of the time his shirts adorn me. Frank is almost like — in the way that he produces these shirts — he’s almost like the news.Under this current administration, the one thing I’ve invested in is my expression of the anger over what happens in any given week. I look at shirts from two years ago and I’m like, remember when we were just angry about that?5. XELKOMIn the past maybe year and a half, one thing I’ve realized is this idea of my reluctance to own my kingdom. Oftentimes, reluctant heroes like to stay in their Clark Kent mode. I also think with a lot of black people in my field, there’s a survivor’s guilt, because a lot of us come from the opposite side of life, but you still have to face people you grew up with who maybe haven’t had a chance to rise up into a place of safety, if you will.Where I shoot “The Tonight Show,” I can tell who’s in the highest tax bracket of anyone working at 30 Rockefeller Plaza based on how they wear their jacket. I can tell a millionaire instantly if they still have a Blackberry and drape their coat over themselves.But I went from making fun of all that to finally maybe owning up to the fact that I don’t have to stay a 22-year-old struggling artist. I’m far from that now. I told you that entire story to tell you that there’s this designer XELKOM. He makes these jewelry pieces and — I won’t say they’re capes and they’re not ponchos — they’re really hip princely sort of robe type things. For me at least, his pieces feel very royal. I guess you could say I’m reluctantly or slowly easing into a royal kind of stance.6. Dee and Ricky CrownDee and Ricky are twin designers from Brooklyn that make me those Lego hearts that I wear all the time. But they also make crowns. And, again, thought it was silly, like, ha ha, wearing a crown. But I was complaining one day that I never get to wear baseball caps or those porkpie caps, none of the iconic hats. No cowboy hats, nothing. So these guys were like, we’ve got the perfect idea for you, and this could fit your Afro. So they made me a crown. It’s a cloth crown. It looks like a headband, but it is indeed a crown. Again, I felt silly at first, but then I got used to it. I’m owning my kingdom.7. Toyota 2004 Scion xBI had agreed to do a commercial for the Toyota Scion back when they first came out. I joked that I liked the car because it was Afro-friendly. I was tired of getting out of cars and the top of my Afro was flat. But still, right before I shot the commercial, they were like, “We need your license and your insurance card.” I was like, “Oh, I don’t have a license.” And so, that was problematic. They might have been a little angry. They were like, “Who would agree to doing a car commercial without a license?” I got defensive. I was like, “Well, who would give me all that money up front without verifying if I was a licensed driver? So, we’re both stuck here, pal.”They found a clever way to execute this within the bounds of the law: They made a film about me going to driving school and getting my license. They were like, “You’re not getting this car until you get a license. So we’re going to film you getting your license.” And that’s how I got my first car.8. Kitsch Record CollectionsMy record-shopping method is a little bit unorthodox and unfair to record collectors. I have a broker who just scours the country for people that are about to trash their collections. I’m talking about, like, families that had a jukebox 45 one-stop-shop business. Usually you get a nephew who’s like, “My uncle once serviced over 300 bars in Georgia but now they’re gone and we’re getting rid of this warehouse with 40,000 45s. We heard you like records, Questlove, so you want ‘em or not?” I can’t see it go to the trash. I can’t. So right before I called you, someone just sold me another 30,000 pieces. Right now, with this additional 30,000, I’m up to about 170[,000 records] now. At one point I was going to buy another house just to put them all in, but now I need a warehouse. So there’s that problem.I just recently started an obsession with collecting kitsch albums. And I found the ultimate collection in Portland, Oregon, over 50,000 pieces.In the ’70s and the ’80s, when bar bands or local bands wanted to get a gig, they would save their money, go into a studio, and they would cover maybe 13 or 14 of the popular songs of the day. They’d cover the Commodores and Stevie Wonder and KC and The Sunshine Band or whatever. They were mediocre at best. They’d print this record up, and they’d probably make 500 copies. And then they would send it to local agents and that was their audition tape. So right now I’ve been D.J.ing the worst covers of popular songs. It’s my new thing. If you’re into hearing 14 versions of Kool & the Gang’s “Ladies Night,” I’m your man. I usually wait until 1 a.m. when everyone’s good and drunk. And then they’re like, wait, is he playing the longest version of the Jackson 5’s “ABC”?9. Minor ScorseseThe Martin Scorsese films that I love are the non-Captain Obvious ones. As a matter of fact, I told him this one time when he and I did a sketch on “The Tonight Show,” and I was so embarrassed. I know that “New York, New York” was such a nightmare for him that he won’t even allow it on iTunes. But I’m probably the only human being who didn’t mind “New York, New York.” Yes, I respect “Raging Bull” and “Casino” and “Goodfellas” and whatnot, but I love “The King of Comedy,” and I love “After Hours,” I love his particular portion of “New York Stories,” and definitely “Cape Fear.” In the heyday of The Roots making our first record, Tariq [Trotter] and I watched “Cape Fear” every night after coming home after recording. So I’ve probably seen “Cape Fear,” like, 700 times.10. “To Be Continued …” Sitcom EpisodesI have a very strange obsession with two-part comedy episodes. Nothing is funnier to me than when comedies have to get super serious and the “To Be Continued …” is about to pop up. At “The Tonight Show” right now, we’re watching every two-parter of “Good Times” because when trouble happens, right before Janet Jackson gets burnt with the iron, or right before that little kid almost fell down an elevator shaft because the elevator wasn’t working in the projects. You hear the audience say, “Oooh!” And then “To Be Continued …” comes up in a real scary font and it’s real silent at the end. That’s my obsession.In the past year or so, I’ve been catching up on every two-part “Jeffersons” episode. There’s one where they actually show George getting stabbed by an all-girl gang in an alleyway. The woman who does the stabbing played Coco on the TV version of “Fame.” So it’s like, George was taking out the trash at his cleaners and this girl gang comes up and robs him of his wedding ring. And when he tries to get it back she pulls out a knife and she stabs him! There’s blood all over his hands. I’m like, this is a really serious “Jeffersons”! I’m about to delve into all the “Diff’rent Strokes” two-parters. If it’s ten seconds before the “To Be Continued …” pops up on a sitcom from the ’70s and ’80s? I’m there. More

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    Ben Affleck Has 'Sober Liaison' While Working on Movie 'The Way Back'

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    The ‘Gone Girl’ actor is accompanied by a ‘sober liaison’ provided by rehab facility while working on his new movie to make sure he doesn’t fall back into his old habits.
    Mar 4, 2020
    AceShowbiz – Ben Affleck was accompanied by a “sober liaison” to and from the set of “The Way Back”.
    The film sees Ben star as ex basketball player Jack Cunningham, who has to battle his alcoholism and other demons when he’s asked to coach the basketball team at his former college.
    Ben has also struggled with a dependence on alcohol for much of his adult life, and began filming “The Way Back” while he was in rehab seeking help for his addiction.
    In order to ensure the 47-year-old actor didn’t stray from his sober journey, the rehab facility provided Ben with a sober liaison, as his co-star Will Ropp told People.com.
    “Everybody was very transparent from the beginning that he was in rehab at the beginning of the film,” he said. “He had to have a sober liaison that would bring him to set and that would bring him back from (the) set.”
    Revealing he found the making of the film “cathartic,” Ben added to the outlet, “The potential for a movie like this is to really inspire somebody, to move somebody. Sometimes you do movies, you go, ‘Okay, it’s a thriller. They’re thrilled. And then they go home and they’ve forgotten about it.’ My goal with this was to make something that would feel enduring and lasting.”
    “Not everybody is going to come in and think it’s great. But for those who do, and for those who may be moved by this, the idea that you can face hard things and get better, I’m really proud of that.”

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    Antonio Banderas Added to the Cast of Video Game Adaptation 'Uncharted'

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    While details of his character have yet to be revealed, the ‘Pain and Glory’ actor will be joined by Sophia Ali of ‘Grey’s Anatomy’ and Tati Gabrielle of ‘The 100’ in the action movie.
    Mar 3, 2020
    AceShowbiz – Antonio Banderas is jumping into action to join Tom Holland and Mark Wahlberg in the long-gestating movie adaptation of hit video game “Uncharted”.
    Details on the character the Oscar-nominated “Pain and Glory” star will play have yet to be revealed, but he isn’t the only new addition to the cast – “Grey’s Anatomy” actress Sophia Ali and “The 100’s Tati Gabrielle have also landed roles in the action/adventure film, according to Variety.
    “Venom (2018)” director Reuben Fletcher is poised to take charge of the project. He recently signed on following the previous departures of Travis Knight, Dan Trachtenberg, and Shawn Levy, who had originally boarded the film in October, 2016.
    Holland is still attached to play treasure hunter Nathan Drake in “Uncharted”, based on the popular Sony PlayStation video game franchise of the same name, while Wahlberg also remains involved as close friend Sully.
    Production is expected to begin in the coming months ahead of a planned March, 2021 release.

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    Ben Affleck Credits 'The Way Back' for Briefly Making Him 'Cool' to Teen Daughter

    Warner Bros. Pictures

    The ex-husband of Jennifer Garner admits to spending hours looking up online slang so he could immerse himself in his role as a high school basketball coach for the sports drama film.
    Mar 3, 2020
    AceShowbiz – Ben Affleck briefly became “cool” while researching his role as a high school basketball coach in “The Way Back” after studying teen-speak online.
    The Oscar winner felt he needed to understand teens like his daughter to help him get into character and so he spent hours looking up slang so he could connect with his young co-stars.
    “It was a joy for me to work with all these young actors, to get back in touch with what it’s like to be in your late teens and 20s,” the actor explains.
    “I tried learning a lot of new slang and how to use Instagram filters. I briefly became kind of cool to my 14-year-old daughter, although that quickly faded.”
    Ben enjoyed being the old guy on set, adding, “They would ask questions like, ‘Hey, when you did that movie, what was it like?’ ‘Who’s an interesting director to work with?’ It was fun to hang out with them. They brought a certain newness and excitement to the work.”
    And director Gavin O’Connor was more than a little impressed with Ben’s performance, considering he didn’t grow up playing basketball.
    “He wasn’t in locker rooms and he didn’t coach,” the filmmaker tells WENN. “We had to work to get him comfortable on the sidelines coaching a team. We spent a lot of time working in a gym with the kids, putting them into situations where Ben was just coaching, coaching, coaching – pacing the sidelines, yelling at referees, getting kids in and out and just leading the team.”

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