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    Phoebe Waller-Bridge in Talks to Develop Spin-Off About James Bond's Daughter

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    WENN

    The ‘Killing Eve’ creator has reportedly been approached by movie bosses to pen a spin-off series that document how the daughter of 007 becomes an agent herself.
    Jun 15, 2020
    AceShowbiz – Phoebe Waller-Bridge is reportedly in talks to work on a female-led James Bond spin-off series.
    Sources told Britain’s Daily Mirror newspaper movie bosses have approached the “Killing Eve” star to pen a franchise documenting how the daughter of 007 becomes an agent herself.
    The news follows Waller-Bridge’s work on the script for upcoming Bond film “No Time to Die”, star Daniel Craig’s last outing as 007, in which the agent is reportedly a dad.
    The long-awaited movie will be released in November after its premiere was delayed due to the coronavirus pandemic.
    Now sources have told The Sunday Mirror the exciting plot twist is opening new doors regarding the future of the series, “Bond bosses are very excited about 007 having a daughter and creating a new franchise around her.”
    “It is likely to feature Bond conflicted over having to train her up as an ­assassin combined with Waller-Bridge’s ­trademark black humour, shown in ‘Killing Eve’,” they continued. “She may just offer ideas and co-produce as roles are yet to be decided, but bosses are keen to give her a big part in the film’s production.”
    “No Time to Die” will hit U.K. cinemas on 12 November, before receiving a global release on 20 November.

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      in Television

      Phoebe Waller-Bridge Left Flustered by Original 'Fleabag' Jokes at First Rehearsal

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      BBC

      The ‘Killing Eve’ showrunner recalls the first rehearsal of ‘Fleabag’ and claims she was ‘genuinely being quite shocked and a bit embarrassed’ by the unapologetic jokes.
      Apr 26, 2020
      AceShowbiz – Phoebe Waller-Bridge was taken aback when she revisited her original “Fleabag” scripts years later.
      The award-winning writer/actress’ one-woman show was the original inspiration for the acclaimed TV series, and a performance recorded at London’s Wyndham Theatre last year 2019 was recently released for video-on-demand services as a charity fundraiser.
      Speaking on Friday’s April 24, 2020 instalment of “The Graham Norton Show”, the star opened up on the show’s journey to success, and admitted that, after originally penning scripts in her mid-20s, she was “shocked and embarrassed” by some of the lines.
      “I was in my mid-20s when I did it originally and everyone involved was full of attitude, and totally unapologetic about what we wanted to say and do with the work,” she said. “When I re-mounted it in New York in my early 30s I remember in the first rehearsal opening the script – which is quite a lot edgier than the TV show – and genuinely being quite shocked and a bit embarrassed.”
      “I really didn’t think I could say some of the lines,” she mused, adding, “But once I got back into the character it was a lot easier.”
      Self-isolating fans in the U.K. and Ireland can watch the show on the Soho Theatre’s On Demand site while it debuted on Amazon Prime Video for users in the U.S., Canada, Australia, and New Zealand
      Downloads cost around $5, and benefit charities aiding those affected by the global pandemic, including The National Emergencies Trust, NHS Charities Together, Acting For Others, and the newly-established Fleabag Support Fund, aimed at providing grants of $3,000 to freelance workers in the U.K. theatre industry.

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      in Television

      Phoebe Waller-Bridge Extends COVID-19 Charity Streaming of 'Fleabag'

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      WENN

      Having raised more than $1 million for coronavirus relief, the ‘Killing Eve’ showrunner prolongs the release of her one-woman show on-demand services until the end of May.
      Apr 25, 2020
      AceShowbiz – Actress Phoebe Waller-Bridge is giving isolated fans extra time to check out her live theatre performance of “Fleabag” after raising more than $1 million (£809,000) for coronavirus relief.
      The Brit’s one-woman show, the original inspiration for the acclaimed TV comedy, was recorded at London’s Wyndham Theatre last year (19) and was released on video on-demand services for a limited two-week run in early April.
      Downloads cost around $5 (£4), with funds benefitting causes including The National Emergencies Trust, NHS Charities Together, Acting For Others, and the newly-established Fleabag Support Fund, aimed at providing grants of $3,000 (£2,500) to struggling freelance workers in the U.K. theatre industry.
      The initial streaming period proved to be so popular, raising in excess of $1 million, Waller-Bridge has now extended the show’s availability until the end of May.
      Fans in the U.K. and Ireland can check out the gig via the Soho Theatre’s On Demand site, (https://ondemand.sohotheatre.com/), while users in the U.S., Canada, Australia, and New Zealand can access it via Amazon Prime Video (https://www.primevideo.com/).

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      in Movies

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

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      WENN/Instar/Apega

      ‘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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      in Movies

      Phoebe Waller-Bridge Recalls 'Challenging' Time Working on 'No Time to Die' Script

      by

      WENN/Instar

      During an interview on BBC Radio 4’s ‘Woman’s Hour’, the ‘Killing Eve’ creator admits that she had to combine Daniel Craig and director Cary Joji Fukunaga’s vision for the James Bond movie.
      Feb 22, 2020
      AceShowbiz – Phoebe Waller-Bridge found working on the new James Bond film “No Time to Die” “challenging” as she had to live up to Daniel Craig and director Cary Joji Fukunaga’s vision for the franchise.
      The “Fleabag” and “Killing Eve” creator was brought on board late in the day to work on the script for the new movie, which is due out in April (2020).
      In an interview on BBC Radio 4’s “Woman’s Hour” programme the award-winning actress/ writer revealed she had found penning scenes a challenge as she was having to combine her ideas with others.
      “It was really challenging, my role there was to try and be helpful and to offer things,” the star said.
      Explaining her contribution, she added: “The script was there. Cary had a really specific vision for the movie and so did Daniel, and it had been in development for a really long time and they had a script.”
      “So that process for me was about stepping back and just saying, ‘I’m going to give you these options and then you can use any of them or you can get rid of all of them’, because everybody was writing on it. There were just so many ideas.”
      Although, she felt at home in the writers’ room – there were reminders she was working on the set of a huge blockbuster.
      “You got to meet Daniel and have these incredible conversations about this character you’ve grown up with and suddenly, when you’re on board it’s like every other job,” Phoebe gushed.
      “Because everyone’s just making a story. Making a thing work. Suddenly, you’re in a room again with Post-Its on the wall, but then you’ll go to the loo and see a set being built outside for some extraordinary thing and say ‘oh this is different’.”

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