Disney Has Held Talks to Purchase 20th Century Fox (Report)

Disney Has Held Talks to Purchase 20th Century Fox (Report)

Disney has held talks to purchase 20th Century Fox

In what could potentially be the most far-reaching and impactful movie industry news story of 2017, CNBC is reporting that The Walt Disney Company is in early talks to potentially purchase parts of 21st Century Fox, the parent company of both the 20th Century Fox movie studio and the Fox Television production company, along with other media assets like FX Networks and National Geographic, as well as international platforms like Star and Sky.

The deal would not encompass Fox News, the FOX broadcast network, local broadcasting affiliates or Fox’s sports programming assets, which would remain as part of the Fox empire. Disney already owns ABC and ESPN, and believes incorporating Fox’s sports coverage would encompass a monopoly and make them a target of an anti-trust case.

So what does this mean for movie fans? Right off the bat, you could expect Fox’s X-Men (including Deadpool and Wolverine) and Fantastic Four properties to be properly incorporated into Disney’s Marvel Studios, helping them get one step closer to bringing all their wayward comic book assets back under one roof. Disney would also acquire such heavyweight franchises as Alien, Predator, Planet of the Apes, Kingsman, Die Hard and, most enticingly, Avatar. James Cameron is currently at the helm of filming four back-to-back Avatar sequels to the most successful movie of all-time, and already worked closely with Disney on the new attraction Pandora – The World of Avatar at Orlando’s Disney World. It would also mean that Lucasfilm could bring Star Wars entirely back under their umbrella, as Fox still owns the rights to 1977’s original Star Wars, which could translate to a Blu-ray release of the original trilogy in its untampered-with form, and possibly theatrical re-releases.

A deal would also be great for Disney’s upcoming streaming service. The additional movie content from 20th Century Fox would make the service a big competitor to something like Netflix.

The article notes that neither side is currently active in talks, but it has been up for discussion for several weeks. A deal this large would also likely have to be approved by the government, and could take some time to negotiate the fine details. In 2016, Buena Vista (Disney) was #1 with over 26% of the movie market share of domestic box office alone, while Fox took slightly under 13% to place third. With the two studios combined, it would make Disney the most formidable (and more than a little frightening) force in the industry, if they aren’t that already.

ComingSoon.net will keep you up to date on any new movement on this potentially momentous deal!

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NYCC Exclusive: John Boyega Talks Pacific Rim Uprising

NYCC Exclusive: John Boyega Talks Pacific Rim Uprising

NYCC Exclusive: John Boyega talks Pacific Rim Uprising

Last week, Legendary Pictures and Universal Pictures brought the new trailer for Pacific Rim Uprising to their New York Comic Con presentation, after which ComingSoon.net had the chance to sit down 1:1 with the film’s star and producer, John Boyega. The Star Wars actor plays Jake Pentecost, the son of Idris Elba’s character from the first film. Check out the interview below!

RELATED: The Pacific Rim Uprising Trailer from NYCC is Here!

John Boyega (Star Wars: The Force Awakens) stars as the rebellious Jake Pentecost, a once-promising Jaeger pilot whose legendary father gave his life to secure humanity’s victory against the monstrous “Kaiju.” Jake has since abandoned his training only to become caught up in a criminal underworld. But when an even more unstoppable threat is unleashed to tear through our cities and bring the world to its knees, he is given one last chance to live up to his father’s legacy by his estranged sister, Mako Mori (Rinko Kikuchi)—who is leading a brave new generation of pilots that have grown up in the shadow of war. As they seek justice for the fallen, their only hope is to unite together in a global uprising against the forces of extinction. Jake is joined by gifted rival pilot Lambert (The Fate of the Furious‘ Scott Eastwood) and 15-year-old Jaeger hacker Amara (newcomer Cailee Spaeny), as the heroes of the PPDC become the only family he has left. Rising up to become the most powerful defense force to ever walk the earth, they will set course for a spectacular all-new adventure on a towering scale.

Pacific Rim Uprising is directed by Steven S. DeKnight (Netflix’s Daredevil, STARZ’s Spartacus) and opens in 2D, 3D and IMAX 3D theaters on March 23, 2018.

Comingsoon.net: I guess my first question to you is… are people making a lot of “Adventure Time” jokes to you now that you’ve played both Finn and Jake?

John Boyega: (laughs) That’s so cool! No, but I welcome all of them. That is cool.

CS: Nobody’s pointing that out?

Boyega: No, nobody’s pointed that out. That is hilarious!

CS: Are you a fan of the show?

Boyega: I love “Adventure Time.” I think I might put up tweets that say, ”I’d really like to see some Finn and Jake concept art” now. That’s so crazy I never knew that, geez.

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CS: So in this movie you are playing the son of Idris Elba’s character, and even though you are English, did you have to use a different regional dialect to match his?

Boyega: I use my natural one. I didn’t use my natural one for “Star Wars,” so that was completely different. I’m into characters. The great thing is there is a distinct difference between Jake and Finn, obviously. That was something I definitely integrated into the character-building. Also because I didn’t want to distract the “Star Wars” fans as they watch “Pacific Rim.” I wanted there to be a specific difference in demeanor and energy. And that’s something that went into it in terms of my voice. I use a low register most of the time, I just used my natural tone.

CS: I just know that there are different regions. I don’t know which regions Idris and you are from?

Boyega: I’m from South London but I did cater towards Idris’ kind of easy-sort of an East London accent.

CS: What do you think is the biggest non-cosmetic difference between Finn and Jake?

Boyega: I think obviously, circumstantially they are living in both worlds where Finn kind of had his freedom taken away from him. And Jake has had all the freedom he can get. Jake is definitely a lot cockier and has a lot more of a no-care attitude. Whereas Finn has a natural heart in him. And if they would meet, they would get along but they would be different for sure.

CS: So Jake has lived kind of more of a frivolous life.

Boyega: Yes, because we wanted to show the story in a different light. We are living in a world in which it is not going well in terms of unity and there is a lot of conflict. There are a lot of people who benefit from it not because they are wealthy, or because they have the best name, but because they are smart and witty, and we wanted to explore that part: the underground crime-lord kid. How does he survive within this world? Obviously he is more of a distinct contrast to his father. But this is not like a caricature of [Elba’s character] Stacker, he’s not just walking around with his demeanor, but he’s a lot more free.

CS: In the original movie, Idris seemed to take a lot of his performance cues from anime, almost like a cartoon character.

Boyega: It was fantastic! He was totally stern. Imagine having a man like that with a son that doesn’t quite live up to that. You probably understand why we probably didn’t see Jake, and that’s what we explored.

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CS: I understand there is also a little bit of friction between you and your sister, Mako.

Boyega: It is a troubling and interesting relationship. If there was a love that they both have for each other, she understood that when Jake was going away. It was his choice. It reminds my older sister and me. I love her, but I also love the ability to understand who she is as an individual regardless of how you feel about her. I think that is something that they both share.

CS: I’ve heard the movie compared a lot to “Top Gun” in the sense that it is not just about Jaegers vs. Kaijus, it is also about the competition between Jaeger pilots.

Boyega: There is big, massive competition between Jaeger pilots, but it’s like “Top Gun” in a sense. One question that nobody has asked is, “Where are all the adult Jaeger pilots?” The ones that are professional and the ones that matter. Where are they? We have the circumstance where the kids are the only hope, and they have to jump into tech. That resonates with me especially as a sci-fi reference to “The Goonies” and “E.T.” Kids having to learn and step up, “Attack the Block,” and go against an enemy that is far-fetched. But they have some good weapons, though.

CS: Guillermo del Toro worked on the project a bit before Steven DeKnight took over. What do you think changed the most between those two guys?

Boyega: I think it definitely changed just in terms of freedom and creative freedom also. I think Guillermo was right in wanting the franchise to take a different path and different route. What I like is it really does promote the change in tone in franchise films because that’s sort of the state of war and events. Each event feels different. But at the same time, we still have those things that we can relate to, and go back to the original. We haven’t gone far in changing the story. I still have to be Drift compatible, the robots are not acrobatic. At the same time after you still have to pilot these things, those are elements we had too.

CS: So by bringing in a new auteur you get the same sort of eclecticism that franchises like “Alien” or “Mission: Impossible” have.

Boyega: And with the distinct decision to expand the franchise and expanding universe to give the fans an interactive say is something that influenced this as well.

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CS: I guess there’s a huge difference between a 40-year-old franchise like “Star Wars” and a four-year-old one like “Pacific Rim.” Isn’t there a lot more wiggle room playing in this sandbox than in George Lucas’s?

Boyega: Definitely, in the other realm you are just part of the jigsaw puzzle. And to continue a legacy with it is fantastic, but also what drew me to this is it wasn’t just doing another franchise. It was about being involved behind the scenes: being a part of the creative team and the minds that would hopefully allow this franchise to expand.

CS: You are a big genre fan, but what was your specific role as a producer? What expertise did you bring in shepherding a big badass movie like this one?

Boyega: The greatest thing is I met with a fantastic production team, and the producers there are like the guardian angels of projects. And each angel does his own thing. Whether it be financial responsibility, time, which we all have our eye on because we cannot go over budget. But a big thing for me was creative collaboration of the project, working closely with visual effects teams was a massive thing for me. Most of the privisual CGI went to me, and I would then decide what would happen and the ways in which we can make this better. Pre-viz is something that is beautiful and something that I promoted a lot. We have to go in there with a plan, and if things would change, it would be up to me to discuss with the actors but with the producing hat on. That then affects the way they do action. But there were many notes that I came in with and many ideas. One thing that kind of was my pitch to the studio was, “what the fans really want to see,” and trust me, what they want to see is fights in the daylight and advanced tech taken to another level. They also want to see more character, more breakdown on the specifics of this franchise, to make the complicated uncomplicated. And just to have fun, and any time I could implement that into it, I would.

CS: That is very savvy of you to hone in on it because if you talk to a lot of the directors who work on big tentpole movies, especially in the big Marvel movies, the pre-visuals are already done on the big set pieces before they even come on.

Boyega: It was the case with this one, but I have a great working relationship and Universal was a fantastic studio. I’ve had a great opportunity to give my say, and even in terms of this trailer, it was a long process for this trailer as well in terms of developing it to the point where it can get everybody excited. We have so much content it really is about how much do we show? And when.

CS: Do you have your eye on directing someday? It sounds like it.

Boyega: I don’t know, maybe…

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Exclusive: Jason Blum Talks Todd McFarlane Directing Spawn

EXCLUSIVE: Jason Blum Talks Todd McFarlane Directing Spawn

Exclusive: Jason Blum Talks Todd McFarlane Directing Spawn

After years of anticipation, Spawn creator Todd McFarlane announced at this year’s San Diego Comic-Con that he his entertainment division (McFarlane Films) are partnering with Jason Blum and Blumhouse Productions (Get OutSplitThe Purge) to make a feature film of the Image Comics character. Now ComingSoon.net has spoken exclusively to producer Jason Blum about the prospect of McFarlane directing Spawn and how they plan to accomplish bringing the character back to the big screen.

ComingSoon.net: If you look at Todd McFarlane’s career, him becoming a movie director almost seems inevitable. He’s obviously worked in film and TV and music videos before, but how do you think he’s going to adapt his singular style to movies?

Jason Blum: I think he’s gonna do a great job. Being a director encompasses a lot of different skills, but one of the most important skills is you have to be a great manager. You’re kind of a General of this army that you have to lead into battle every day, and he does that in his life every day running McFarlane Enterprises. So I think that translates to directing in a lot of ways. We’ve had a great back-and-forth around developing the script. I wouldn’t have done it if I didn’t think he could do a great job, but we’ll see. I have a good feeling about it.

CS: He’s said he sees this more as a down and dirty horror movie than a superhero film. Obviously demonic beings and hell are a big part of Spawn’s mythology, but how do you guys plan to translate Todd’s very dynamic form of storytelling onto a lower-scale budget?

Blum: (laughs) That’s a good question. One of the things is we’re keeping the scope of the script relatively contained, so that’s the biggest way. I think the other way is he and I aren’t paying ourselves any money out of the budget nor will any of the actors, so that’s another way. We’re using our usual tricks!

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McFarlane has written the first draft of the screenplay and is set to make his directorial debut in this dark exploration of one of comics’ most popular characters.

“We’ve gone from the theoretical to now we’re making movies,” McFarlane previously said. “Blumhouse. Spawn. Badass. R. Get ready for it, we’re going into production. No more talking, it’s time to do.”

McFarlane is known for reinventing the look of Spider-Man as well as co-creating the Venom character for Marvel Comics. First appearing in 1992’s Spawn #1, the character quickly became the symbol for 1990s comics dark and brutal antiheroes. His Hellspawn powers allow him to teleport, shape shift, and utilize a variety of weapons (notably chains) in combat.

Spawn previously made the leap to the big screen in 1997 with Michael Jai White in the title role and then on television as an HBO animated miniseries, titled Todd McFarlane’s Spawn.

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The Morning Watch: Idris Elba Reads Fan Fiction, Jim Carrey Talks Comedy and Existence & More

Idris Elba - Fan Fiction - Morning Watch

(The Morning Watch is a recurring feature that highlights a handful of noteworthy videos from around the web. They could be video essays, fanmade productions, featurettes, short films, hilarious sketches, or just anything that has to do with our favorite movies and TV shows.)

In this edition, Idris Elba reads fan fiction that was written about the Luther star himself. Plus, Jim Carrey sat down for a nearly 30-minute conversation about comedy, characters and existence at the Toronto International Film Festival, and Adult Swim released the full version of the “Fathers and Daughters” song from this past weekend’s Rick and Morty.

As part of a rather unique marketing campaign for the upcoming survival drama The Mountain Between Us, the folks at Fox Searchlight had star Idris Elba sit down to read some of the fan fiction that has been written about him on the internet. It’s just as saucy, sexy and ridiculous as you’d expect.

Jim Carrey sat down for an extended conversation at TIFF to talk about his career, including his approach to characters and comedy. And for those who have been keeping up with Jim Carrey’s publicized remarks about existentialism and life, the actor dives into some more mind-bending topics of discussion as well.

Finally, for those who loved the father-daughter episode of Rick and Morty last weekend, Adult Swim has released a full version of the hilarious ballad “Fathers and Daughters” as a music video featuring clips from the episode in question. It’s touching and hilarious all at once, and serves as continued evidence of Rick and Morty being better than ever.

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Superhero Bits: Batman: Arkham Video Games May Be Over, Nicolas Cage Talks Superman & More

The Punisher - Jon Bernthal

How much did Spider-Man: Homecoming make in its opening weekend at the China box office? Which character did James Gunn say will not be making an appearance in Guardians of the Galaxy Vol. 3? Will there be anymore Batman: Arkham video games in the near future? Would Kevin Conroy ever voice a Marvel character? What very Nicolas Cage-y thing did Nicolas Cage say about his abandoned Superman movie with Tim Burton? All that and more in this edition of Superhero Bits.

Last week shooting #newmutants

A post shared by Josh Boone (@joshboonemovies) on

Director Josh Boone shared this image from the set of The New Mutants, featuring the comic book title logo.

Arrow executive producer Wendy Mericle talked about Samandra Watson, an FBI agent debuting in season six.

Spider-Man Homecoming Chinese Poster

Spider-Man: Homecoming pulled in $ 70.2 million in its opening weekend in China, which is quite the debut.

Margot Robbie believes she’ll be playing Harley Quinn again in 2018, but she doesn’t know for which movie.

Here’s a sneak peek of the Wonder Woman gag reel coming on the home video release of the DC Comics movie.

Director James Gunn says fans shouldn’t expect to see Vance Astro appear in Guardians of the Galaxy Vol. 3.

The Punisher - Deborah Ann Woll Ebon Moss-Bachrach - The Punisher

Netflix released a batch of new photos from Marvel’s The Punisher, as well as a poster, but still no release date yet.

Production on the Spider-Man spin-off Venom has been pushed nearly a month with a start date of October 23.

Continue Reading Superhero Bits>>

Due to the amount of graphics and images included in Superhero Bits, we have to split this post over THREE pages. Click the link above to continue to the next page of Superhero Bits.

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‘Bojack Horseman’ Showrunner Talks Season 4 (and How Jessica Biel Asked Him to be Meaner) [Interview]

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“Where’s Bojack” is the mystery of Bojack Horseman’s fourth season, and also the feeling of fans who’ve been waiting since they binge-watched season 3 last summer. Last season featured the landmark episode “Fish Out of Water” in which Bojack (Will Arnett) attended an underwater film festival, featured Bojack finding out he had a long lost daughter, and introduced Mr. Peanutbutter’s (Paul F. Tompkins) plan to for office.

/Film has been pursuing Bojack Horseman creator Raphael Bob-Waksberg for several years now, so we had a lot to talk about when we finally spoke by phone. We spoke vaguely about season 4, so that you could read this either before or after you watch the season, and discussed general questions that have been percolating about the show for four years.

Was it a big risk to introduce Bojack so late in season four?

It’s not that late. We did talk a lot about how much do we want to keep him hidden, and how much do we want to keep him not in L.A. There were talks of could he go half or most of the season up in Michigan or driving around going from place to place? We definitely considered that, but we also thought we teased the idea of his daughter character in the end of season three. That’s also a really rich story we want to get into and if he’s driving all around, we can’t really explore that relationship. For the benefit of that story, which we think ultimately is going to be a deeper, more interesting story than whatever he’s doing in these other places with these strangers, it makes sense to get him back to L.A. somewhat quickly but we cover a lot of time in those first episodes. In world, he’s been gone for a full year but the audience isn’t missing him too much. Did it feel like a risk to not have him in the first episode at all?

I was wondering how far you’d push it, but I was ready to spend that time with the other characters. 

I think it’s interesting too because I think a lot of the audience’s perception is going to be shaped by the marketing. We’re really pushing the “Where’s Bojack?” of it all. There might be some disappointment of, “Oh, I thought it was going to be the whole season.” Or it might end up helping it feel like more time because they’re already wondering now where’s Bojack. We’ll see. It felt like a fun thing to try, to have a show called Bojack Horseman and have no Bojack Horseman for an episode. Yeah, that’s the kind of thing we do. Let’s go for it.

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Did you already have the political story for Mr. Peanutbutter when you set up his campaign at the end of season three?

No. We didn’t know what we were going to do with it. We just thought, “Oh, that would be a fun thing to explore.” I think if we’d thought ahead for even a second, we might have predicted that maybe by 2017 people would be sick of following stories about politics and it won’t be the most enticing thing to do. I like to think we did a good enough job to make it feel fun and interesting and not feel like it’s rehashing a lot of the vitriol and torture of what the last 16 months have been. As we were working on the story, we tried to say okay, what if it’s less about politics and the personal relationships. What does this campaign do to Mr. Peanutbutter’s relationship with Diane and what does it say about him and his ex-wives?

It sort of fell into your lap that you had a candidate who never thought he’d actually get elected.

Right, but what I’ll say, while we were making the season, there was a lot of talk of where is this going? Do we want him to win or not and what does that say? I think that changed as stuff was happening in the real world. Is this funny or is it horrifying and what does that mean, what is the precedent for it? It shifted a little bit so I think we were very conscious not to too closely ape anything specific from the election. We didn’t want to just be like this is like this and this character is like that guy. Certainly I think what was happening in the world definitely seeped in because we’re humans and we have thoughts about the world and the way it work.

Did you always know the history of Mr. Peanutbutter’s House or was that all new this season?

No, sometimes what’s fun about this show is we’ll write stuff in as a throwaway gag and then we’ll return to it and go, “Okay, what does this actually say about the world?” The very first season of Bojack, you see a clip of Mr. Peanutbutter’s House. At the end, the credit pops up: Created by David Chase and Steven Bochco. We’re like oh, that’s a funny gag if those two guys wrote Mr. Peanutbutter’s House. So then when it was time to show the flashback to it, we were like, “Do you think we could get David Chase or Steven Bochco?” David Chase was like, “Yeah, I’ll do it.” It was a really fun way to start the season I thought. A lot of the backstory of these characters we’re finding as we go which is fun. We’re making the story forwards as well as backwards. This season there’s a lot of backstory, especially with Bojack’s family. That was really fun to dive into, stuff we’ve hinted at before or intimated before. I was like, let’s really explore that and what was that and how did that work?

Is episode 11 this season’s “Fish Out of Water?”

I don’t know. I guess that’s for the audience to decide. I don’t necessarily think of it that way. When we go into every season, we’re not necessarily trying to top ourselves or match certain things, like okay, we’ve got to have this kind of episode and that kind of episode and this kind of episode. It really is more like what sounds fun for us this year? I’m always excited to see which episodes pop with the audience. It’s not always the episodes that I expect to so it’s fun. I’m excited to see what people think about all of the episodes.

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You address that Margo Martindale is still lost at sea. Didn’t all the spaghetti strainers catch her?

No. She’s still missing and presumed dead perhaps.

Even though Sarah Lynn is gone, was it important that her catchphrase (“Suck a d***, dumb sh*ts”) still lives?

Yeah, that felt like a nice way to pay tribute.

It’s my favorite thing to say.

Good. Well, be careful who you say it around.

When Bojack meets Eddie, was that a nice chance to introduce a tragic character for a single episode arc?

Yeah, that was really fun. We talked about who does Bojack meet and in what ways is this character a reflection of what Bojack has gone through? Even though his backstory is very different and distinct, can Bojack see in him a model for what he would like to be and/or not like to be. We thought he made a really interesting foil for Bojack in that moment. Colman Domingo’s an amazing actor we were lucky to get, and to have him sing is pretty incredible. He’s a Broadway star which a lot of people don’t even know about him. They’ve just seen him on Fear the Walking Dead. That was really cool for me. I was like, “I saw you on Broadway in Passing Strange and now we wrote this song for you to sing.”

Was Lin-Manuel Miranda a Bojack fan?

I don’t know if he was a fan, but we asked him to do the show and he said yet. Either he was a fan or his agent thought it’d be good for his career. He was also very sweet, very friendly. One of our writers is a huge Lin-Manuel Miranda fan so Lin-Manuel recorded a little message for them which was really nice.

There’s a joke in the finale about a Matthew Perry SNL sketch that’s really poignant. I won’t give away the joke but did it take a long time to figure out how to describe a sketch we don’t see? 

It actually came from a very old bit I had way back in college from my own sketch comedy group. I was trying to write the finale and I was stuck on this one scene. I couldn’t figure out how to move from one thing to the other. So of course I was procrastinating. When I write, I try to turn my internet off so I can’t procrastinate through the internet, but then I just get deeply involved in whatever I have just on my computer. So I was going through old documents and pictures and looking at stuff just so I wouldn’t have to think about the episode. Then I found this joke that I thought, “Oh, I bet I can do something with this.” So it turned out my procrastination helped me unlock a piece of the puzzle.

Continue Reading Bojack Horseman Showrunner Interview >>

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Cate Blanchett in Talks for The House with a Clock in Its Walls

Cate Blanchett is in early talks to join Jack Black in The House with a Clock in Its Walls

Cate Blanchett is in early talks to join Jack Black in The House with a Clock in Its Walls

Cate Blanchett is in early talks to join Jack Black in The House with a Clock in Its Walls, according to Variety. The Amblin Entertainment and Mythology Entertainment film is based on the 1973 novel of the same name by John Bellairs, and illustrated by Edward Gorey. Eli Roth will direct the film from a script from Eric Kripke.

RELATED: Amazon Studios acquires Lucy and Desi with Cate Blanchett set to star as Lucille Ball

The House with a Clock in Its Walls, which is book one of Bellairs’ Lewis Barnavlet series, is described on the late author’s official site as follows:

Lewis had always wanted to live in a house like Uncle Jonathan’s — full of marble fireplaces and secret passageways and dozens of unused, unexplored rooms. And living with Uncle Jonathan, a real wizard, was full of fun and surprises.

But while Uncle Jonathan practiced funny and comfortable white magic, the original owner of the old house, Isaac Izard, had been an evil sorcerer. Isaac Izard had devised a plan for bringing about the end of the world. Somewhere in the walls of the house he had hidden a clock. Every night Lewis and Uncle Jonathan could hear it ticking — sometimes loud, sometimes soft — marking off the minutes until doomsday.

Lewis knew they had to find the clock before it was too late. Then he decided to dabble in a litte magic of his own, and their time almost ran out.

Kripke, Brad Fischer and James Vanderbilt will produce and William Sherak, Tracey Nyberg and Laeta Kalogridis will executive produce.

What do you guys think of a film based on The House with a Clock in Its Walls? Let us know @ComingSoonnet.

(Photo Credit: Getty Images)

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CS Interview: Jeff Bridges Talks Only Living Boy in New York

CS Interview: Jeff Bridges Talks Only Living Boy in New York

CS Interview: Jeff Bridges talks Only Living Boy in New York

ComingSoon.net had a chance to chat with Oscar-winning legend Jeff Bridges (Crazy Heart, The Big Lebowski) about his new romantic comedy The Only Living Boy in New York, in which he plays an eccentric New Yorker. We also discussed his work in films like Tucker, Tideland, Starman and the upcoming Kingsman: The Golden Circle, as well as a potential new sequel to The Last Picture Show!

Amazon and Roadside Attractions’ comedy/drama The Only Living Boy in New York also stars Callum Turner (Green Room), Kate Beckinsale (Underworld), Pierce Brosnan (Goldeneye), Cynthia Nixon (Sex in the City), and Kiersey Clemons (Dope). It follows a recent college graduate adrift in New York City who seeks the guidance of an eccentric neighbor as his life is upended by his father’s mistress.

Directed by Marc Webb (The Amazing Spider-Man, Gifted) from a screenplay by Allan Loeb (The Space Between UsJust Go with It), The Only Living Boy in New York is now playing in select theaters.

ComingSoon.net: You took an executive producer credit on “Only Living Boy in New York.” What did that entail besides your usual skills as an actor?

Jeff Bridges: I got to be in on the decisions of the shoot and the style of the film. And I got to put in my views, and put in my vote for [lead Callum Turner] who was wonderful for the part really. He did justice for the story beautifully, I can tell you that.

CS: What was something specifically that sparked for you when you saw his tape or his audition?

Bridges: His acting! It was very real.

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CS: Yeah, for sure. And speaking of your character, W.F., I don’t want to spoil it for our readers because there is sort of a twist. How did you walk the line performance-wise so you didn’t tip the audience off?

Bridges: Well, you’ve seen the movie – and I love going to movies myself but I try to know as little as I can about movies that I want to see so I get to experience it fresh like the filmmaker intended. And that was how Mark [Webb, the director] and Allan [Loeb] the screenwriter did this. And there’s a wonderful device in the movie where you are wondering because my character is kind of mysterious. I love that the audience finds out that I’m [*redacted for spoilers*]. And so that satisfies the audience’s sense of mystery of who this guy is. That sort of put the kibosh on the surprise, but it is largely due to the fact that you think you discover the surprise.

CS: This movie is very much the kind of movie that Woody Allen and others used to do about Upper West Side, New York literati. Nowadays not only is that world sort of disappearing, but books in general seem to be disappearing as well. Do you think that is accurate?

Bridges: Yeah! It’s a sad thing that bookstores are disappearing. But it’s just inevitable that things change and nothing is permanent. It’s always changing, but you’re always nostalgic for the way it was. But when it changes there’s nothing we can do about that.

CS: Unfortunately not. One of the legendary bookstores still left in the city is The Argosy, which they show a lot of in this movie. Can you speak a little bit to your own relationship which books and maybe which authors had the biggest impact on you?

Bridges: Well the best part of going into bookstores is just being there for hours. Just looking around for books. And one of my favorite movies that I was in that did wonderful things for my career was “The Last Picture Show.” It was written by McMurtry, who was one of the best screenwriters as well writers of fiction and historical fiction. And it was such a wonderful book and I’m hoping that I get to continue the McMurtry saga of my character Duane. There are three more books in that series where “The Last Picture Show” was the first one.

CS: And then “Texasville.”

Bridges: “Texasville,” and then there’s two other books, so I’m hoping those work out.

CS: Are you actually in active development on that?

Bridges: Well, I wouldn’t say active development. I’m having dinner with Peter Bogdanovich tomorrow night so I’m sure we’ll talk about it, we always do. Maybe we can it get fired up. You know, it’s hard to get movies made! Our writer Allan [Loeb] was about to shift careers if this movie didn’t sell. And he had been trying to work with a director to sell the script for 10 years! So it is a tough road.

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CS: I remember when this script was on the Black List and this was considered a hot property. I remember when he was considered a hot writer and now he’s a veteran, but, this movie was written when he was much younger, and that brings up an interesting point actually. You have been doing this for a bit; this is not your first rodeo, you have read a bunch of scripts. What do you think is the biggest difference between the writing of an old pro and the writing of a hungry young writer?

Bridges: I don’t think there really is much difference. They can both be open and fresh. For my tastes in all of the arts, the most advanced artists have a freshness where it seems like it’s happening for the first time. When it seems like it’s happening for the first time, you think Picasso or something like that with the big things that you haven’t heard of before. And great writers have that, or you can have “psychic” powers where you could touch what hasn’t been touched before. I don’t know, but if you look at directors who had some wonderful success, especially with first-time directors, I don’t think it gets much better than “Citizen Kane.” Like, how old was Orson Welles when he made that? 25? So it goes the same with arts and artists across the board, the freshness and things like Sidney Lumet’s movies. I got to work with him too, where his later movies were just as fresh as ever.

CS: So if you do get to do the third “Last Picture Show” movie, is the plan to bring everybody back with Tim Bottoms, Cybill Shepherd and Randy Quaid?

Bridges: Sure, if we’re still alive.

CS: Well that would certainly be awesome. I think that what was cool about “The Last Picture Show” is that even when Peter did that movie, it was more of an old-school type of movie. That was during the era of “Easy Rider” and all these other counterculture things and he was doing a kind of throwback.

Bridges: To me, that movie kind of sits by itself. I can kind of see that he had these other peers, but it was made in a time where these kinds of movies weren’t being made and it kind of sits by itself in its own funny way to me.

CS: Yeah and I think now we are entering an era where movies like “Only Living Boy” and “Last Picture Show” are only becoming rarer and rarer when there are less movies about people and more about guys in super suits.

Bridges: But yeah I think we’re going to see more of these types of movies being made – Amazon is a good thing and I think that they’re planning on making more low-budget movies and not ones with $ 300 million budgets. More low-budget movies, I think, are more enjoyable to see.

CS: Yeah, do you they think they would be a good fit for “Last Picture 3”?

Bridges: Yes, that would be wonderful. Have you read those other books?

CS: No, I haven’t.

Bridges: Cool, if you’re a fan of McMurtry, they’re really very terrific stories.

CS: He was one of the best for sure. One of my favorite movies of yours that I don’t really hear talked about much is “Tucker: The Man and His Dream.” The themes of “the innovator versus the forces of Industry” are so powerful and still horribly relevant.

Bridges: You don’t say.

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CS: Can you talk a little bit about that movie and also about working with the late Martin Landau?

Bridges: Yeah gosh, I have such fond memories making that movie. My father also was working on that movie. We made a couple of films and it was one of the times I got to work with him as an adult so that was wonderful. And Francis [Ford Coppola], gosh, what working with him was like. What an amazing artist he is. He got me going on that movie. I can talk for hours about how innovative he was, what he did. Martin Landau and I became close with him on that film, he was such a wonderful actor and such a generous person. And Francis, one of the things he did for our relationship in the movie is he said, “How do you think you guys met?” We talked and created this story about how we met on the train, he was an old man and I bummed a cigarette off him, and we started up a conversation or whatever. And then Francis said, “Why don’t we start up an improv of that meeting right now.” And we were going on for about five or ten minutes and he set up chairs for us to use as the train. We did the improv and Francis said, “We won’t do it anymore, it will be just that one time, but now that’s in your brain I don’t have to make up how you did it. You’ve got that story actually in your brain, it really happened.” And that’s an example of what Francis did which brought us a little bit closer together. You know, playing our parts getting to know each other better.

CS: What is interesting for me about that movie is that Martin had been in the weeds career-wise for awhile and that movie very much brought him back. After that he did “Crimes and Misdemeanors,” “Ed Wood” got an Oscar, all that good stuff. You think he knew that that part was a turning point for him?

Bridges: Yes, I think he did know.

CS: I also want to talk to you about a film of yours that I don’t think gets enough ink, which is “Tideland.” That’s a doozy that movie. I’m a huge Terry Gilliam fan and I loved the book the movie was based on, but I think it is a challenging movie for even some of the more hardcore Gilliam people. Are you a fan of that film?

Bridges: I am, it’s probably the weirdest movie I ever got involved with. I must say it’s also the weirdest one of Terry’s, I would think.

CS: Which is saying something.

Bridges: It was so bizarre, but I had a ball doing it. And Terry is a huge master of sublimity. He’s been working on that “Quixote” movie for God knows how many years.

CS: I remember when you narrated the documentary.

Bridges: You are right about that!

CS: But “Tideland” definitely has some people who are passionate about it like me. What do you think made audiences react so violently to it when it came out come?

Bridges: Well, there is this little girl who starts shooting up her dad… starts shoving doll hairs up her father’s carcass. (laughs)

CS: It was a little too much for people, but I love you in it and I love that movie.

Bridges: It was also where I got to sing a song by my friend in the opening scene, and it always puts a smile on my face.

Jeff Bridges i Kingsman- The Golden Circle

CS: I was also lucky enough to get to see the first 30 minutes of “Kingsman: Golden Circle.” It’s very wild stuff, but I think I did not actually get to see any part of your scenes with the Statesman. I was curious, what excited you about doing that project?

Bridges: Well I was a big fan of the first one. It was the best spy-genre-James-Bond-type film that I’ve ever seen. It was executed so brilliantly by Matthew Vaughn, and they do all the special effects now and used them in a really brilliant way like the first one. And when I got invited to be a part of this one — which they never really like to call it a sequel, they always want to call it an extension of the first story — I said “Okay, let’s go.” And I play the head of an organization called the Statesman, which is the American version of the Kingsman.

CS: Yeah, you are with Channing Tatum and all that. It was just interesting to me that you chose that because outside of “TRON” and I guess “Texasville,” I don’t really see you as a big franchise guy. Was it something that you tried to avoid in your career?

Bridges: No, no, I mean, I was in the first “Iron Man” which was a franchise.

CS: True.

Bridges: Also, doing the “TRON” movie was big, but I am game for all of the different formats, you know. I guess I’ll probably do virtual reality when it comes up. The question is if theaters will be taken away soon, will we all be watching movies on our iPhones?

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CS: If you were to go over your entire filmography and make a sequel to any one of the movies you’ve done, which one would you want to revisit the most?

Bridges: I was kind of surprised that they never did one for “Starman” because it was all set up for one. Karen Allen is pregnant with the “Star Baby” and there’s a silver ball with the kid. Whenever I see Karen, we always jam about different ideas for a sequel.

CS: Like where did her character go? Where is her kid?

Bridges: I heard that there were talks for making a remake, but I still think that they should have made a sequel and stuff.

CS: That movie was always fascinating, because I am a big John Carpenter fan, and that was one of the only movies he got to make that really showed his breadth, that he wasn’t just a horror filmmaker.

Bridges: Yeah, I think so too.

CS: He had this really great facility with comedy – it was rather Howard Hawksian in that way with the romance there. Do you have any other memories of working with him?

Bridges: Yeah, he was terrific. I remember, I always had these ideas, and I would come up to him with my ideas and then he would look at me sometimes with an implacable expression on his face and he would say, “Yeah, but what do you know?” (laughs)

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‘Rogue One’ Star Riz Ahmed in Talks for ‘Venom’ Spin-Off, May or May Not Be Carnage

Riz Ahmed - Carnage - Venom Cast

Sony Pictures is getting their Spider-Man franchise spin-off Venom ready to go. Tom Hardy has been attached to the project as the title character for some time now, and Gangster Squad director Ruben Fleischer will be behind the camera for the film that is said to have no ties to the Spider-Man played by Tom Holland in the Marvel Cinematic Universe. Now the supporting cast is starting to fill out.

Reports have indicated that Rogue One: A Star Wars Story actor Riz Ahmed is in talks to play a popular Marvel Comics character in Venom. While the character isn’t being disclosed at this time, there is word on which character it won’t be. Find out more about Venom cast addition below.

Variety was the first to report on the Venom cast looking to recruit Riz Ahmed. While their reports doesn’t mention which character he would play if a deal comes together, The Hollywood Reporter has heard from sources that it won’t be Carnage, even though that’s the role in the film that Sony Pictures has been looking to cast. Carnage was supposed to be the villain and Riz Ahmed is said to have been considered for the role, but the script has changed since then and now he’s reportedly up for a different role.

Meanwhile, Jeff Sneider from The Tracking Board says his sources are torn as to what role Riz Ahmed would play, with one trustworthy source saying it will be Carnage. So it sounds like it could go either way.

Reporter Justin Kroll at Variety indicated on Twitter that Matt Smith (Doctor Who), Pedro Pascal (Game of Thrones) and Mathias Schoenarts (The Danish Girl) were also in the running for the role, so if Riz Ahmed somehow isn’t able to make it through negotiations, the studio does have other options at their disposal. Unfortunately, none of those options give us an idea as to who the character they could have played will be if it’s not actually Carnage.

Considering that Spider-Man: Homecoming has already used Vulture and Shocker, not to mention hinting at Scorpion, maybe Venom will venture into different villain territory by bringing someone like Kraven the Hunter or Mysterio into play (especially since there are spin-offs for those characters in the works). Or maybe they’ll dig deep into sci-fi Spider-Man territory by bringing Scarlet Spider into the mix, who is actually a clone of Spider-Man. That sounds pretty far fetched, but Venom is supposed to be a straight-up sci-fi movie, and potentially R-rated, so maybe it’s not too crazy.

Very little is known about Venom at this point, but the script is being written by Scott Rosenberg (Jumanji: Welcome to the Jungle) and Jeff Pinkner (The Dark Tower), with Avi Arad and Matt Tolmach producing the movie along with Sony’s Amy Pascal.

As of now Venom is slated to arrive in theaters on October 5, 2018.

The post ‘Rogue One’ Star Riz Ahmed in Talks for ‘Venom’ Spin-Off, May or May Not Be Carnage appeared first on /Film.


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Stephen King Talks The Dark Tower, Plus a Tour of King’s Maine

Stephen King Talks The Dark Tower, Plus a Tour of King's Maine

Stephen King talks to us about The Dark Tower

It’s been nearly 40 years since “The Gunslinger,” the first story in Stephen King’s magnum opus “The Dark Tower,” was first published. Now the saga of Roland, Jake Chambers and The Man in Black has come to life on the big screen this weekend in Sony PicturesThe Dark Tower, starring Idris Elba as Roland (the last gunslinger) and Matthew McConaughey as Walter (The Man in Black). We had the opportunity to take a tour of King’s hometown of Bangor, Maine where we saw sites that inspired (and were inspired by) King’s work, and then got to sit down and talk to the man himself. You’ll find the interview below the tour gallery!

 

ComingSoon.net: Did you ever think this would happen?

Stephen King: I never really thought about it that much. I mean, there were times when people would express an interest in it and then they’d go away again. Interest came back over time after Peter Jackson’s success with the “Lord of the Rings” movies. It never seemed like a “movie movie” idea as complex and long as it is. They’ve done a wonderful job here of telling a story that’s coherent and has all the elements of the novel “The Dark Tower.” The purists may not like it. I can’t tell about that for sure, because it doesn’t start where the books start, but at the same time, I could follow it anyway because I knew exactly what’s going on. I don’t think about that, I think about writing the next book. I’m more interested in the next thing than the last thing.

CS: Having seen the movie the other day it was kind of like the whole “Dark Tower” series thrown into a blender. Is it like being able to look at the series through fresh eyes for you?

King: Yeah. It is. And there’s so many things in the various stories, the plots are fairly complex and the characters interact and they go back and forth. I think that Akiva Goldsman, who wrote the screenplay, picked out what seemed to him to be the most accessible and human relationship kind of thing between this old guy, Roland, who’s been around for a long, long time, and the kid. And they had a wonderful chemistry when they were doing the show. And it comes through on the screen. So yeah, I mean, they had to make some decisions. Some of those decisions are related to telling a story that the general public will get, not just the the hardcore “Dark Tower” fans, the guys who show up at the fantasy conventions with Roland tattooed on their heads, something like that. So they want to get to those. You have to keep in mind that of all the books that are written, the fans of the “Dark Tower” books are the most zealous, the most fervent fans of all. But they make a small subgroup of the people who read books like “The Shining” or “Misery” or that sort of thing. So you know, they’re an acquired taste. They’re fantasy.

Roland (Idris Elba) in Columbia Pictures' THE DARK TOWER.

CS: I hate to ask you, because the film actually got negative feedback when Idris Elba was cast as Roland, what do you say to those people and what’s your response to the casting of the two primary leads?

King: Well, what I said in a tweet after all that discussion started was I didn’t care what color he was, as long as he could command the screen, draw fast and shoot straight. So it doesn’t make any difference to me, because I don’t even really see people when I’m writing because if I’m writing about a character, I’m behind their eyes, you know? Unless they walk by a mirror or something, I don’t even really see what they look like. But what really sort of made it an issue in my mind, when they cast Idris as Roland was, all of those books were illustrated to start with, those Grant novels were all illustrated. And in all those pictures, Roland is a white guy, and I never thought about that one way or another. But obviously, that became part of the mindset. But you know, it’s weird, isn’t it? Why shouldn’t he be black? Why couldn’t he be a black guy to do this? It’s like, you know what’s weirder than that? You see this show “Game of Thrones” and Westeros, they’re all British. They’re all British. I mean, Westeros is basically England, right? And nobody ever questions that. So I mean, to me, the idea that a black man would play Roland is minor compared to that.

CS: Do you hope he has a hat in the next movie?

King: It’s funny, isn’t it? Trade secret, in a lot of the pictures, not only is he white, he’s wearing a hat in most of those pictures. And I talked to the producers of the movie about that. And they said that in Western movies where the main character wears a hat don’t do well at the box office. And I said, “Really? Well, Denzel wore a hat all the way through ‘The Magnificent Seven.’ And that did pretty good at the box office.” But they don’t pay attention to that.

CS: A lot of this movie takes place on Keystone Earth, so it would be kind of silly if he was walking around New York looking like Crocodile Dundee.

King: Oh, I don’t know. I mean, have you been to New York lately? (laughs) I mean, they have a guy in Times Square that’s called the Naked Cowboy.

CS: Do you think you’ll ever go back to this world, fill in more of Roland’s backstory, write another “Dark Tower” book?

King: I’ve thought a lot about those characters in the last year or so, because they were making this movie. Actually, the last two or three years, because I had a lot of meetings with Ron Howard, who’s one of the producers and was very instrumental in bringing it to the screen. So I thought about them a lot then. I thought about them again when I did the “The Wind Through the Keyhole,” which was kind of a postscript to the books. And the funny thing about it is, I’m usually all about the next thing. And that’s why, you know, somebody was asking me at dinner, “Are you all bound up in the success or failure of this movie and the other movie?” And the answer is, no. The books are there. The books are done. And that’s sort of where my focus is. But when you do come back to them, like I don’t know. I wrote “The Gunslinger” around 1970, and years went by. I mean, it was after “Pet Sematary” that I wrote the second one, because people asked for it. And then, a couple of more years later, the third one. And then, there was a long stall out.

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CS: I remember.

King: And what I’m getting back to is every time that I came back, it was like meeting old friends, you know? And I picked up the story immediately and that was great. And I felt the same way. This is a plug for a wonderful TV series called “Mr. Mercedes” that’s going to start in about a week on DIRECTV Network. And you know, I wrote that book and there was this minor character whose name was Holly Gibney, who was at a funeral and Bill Hodges was supposed to comfort her. Bill Hodges is a cop. And she just walked in and stole a book. And sometimes, that happens with characters.

CS: Your character kind of admits in the sixth book you, yourself, that you lost an outline. Is that an actual story, is that a true story?

King: Yeah.

CS: You had a long outline for this?

King: I had an outline. It wasn’t particularly long, but it outlined the entire book, you know, the entire cycle of the books. And I did lose that. The only thing I can remember about it is it was written on a typewriter in the campus newspaper office at the University of Maine. It was one of these things that was built to receive teletype as well as type. So it had all capital letters. So I remember the outline, but I don’t know where it went. I don’t even know where the first draft of that book went.

CS: We were touring around today seeing all the sites that had inspired you. What inspires you these days? Has your response to fear or the things that draw fear out of you changed over the decades?

King: I don’t think so, a little bit. I don’t think that I’m as close to the childhood monsters and things that I was close to in my 20s and 30s. It’s just a natural thing. You know, you’re closer to your childhood. You remember more of what your childhood — and then, you get this double dip because you have kids of your own and you see what they’re seeing and you’re close to them and you have them almost as research subjects, you know, kid things, you’re watching what they’re doing all the time. I don’t know. There are things that I’m interested in, but there’s no way to generalize the case exactly. I see pictures sometimes in my mind. You know, it’s like I see dead people. And sometimes I do. But then I think I would like to write a story about that, find out what it’s about. I think that in the last few years, I’ve written more about old people. I’m not sure that’s the demographic I really want to go after because they’re shrinking all the time. But you know, you write what you know. When you’re young, you write about young people.

CS: Is there anything that didn’t make it into the movie that you wish had?

King: Well, there are things I think that the hardcore fans are going to wish were in the movie. And all I can say is that if the movie’s a success, there will be a sequel. I would love to see those doors into our world. And there is some of that in this movie. I would love to see Roland on the beach with those lobster monstrosities and stuff. I understand the rationale behind the movie that’s PG-13, and I was totally signed off on that. I think it’s the right thing to do. I want as many people in the tent as possible for all kinds of reasons. Part of it, having to do with the dynamic between the gunslinger and the boy, because I think that’s a father/son relationship. I’d love to see the next picture be R because I think that’s sort of where we’re coming from now, where the movies need to go. For a long time, PG-13 was the safe spot to go. And when pictures were R, the studio executives would say, “Well, we know that this is going to make 20 percent and 30 percent less money because we’re going to exclude a market, a prime part of the movie going public.” I think that movies like “Deadpool” and “Logan” changed that to some degree.

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CS: Do you think it would be strange if they didn’t do “Drawing of the Three” in some way, shape or form next?

King: I think that would probably happen, yeah. I think that would be the logical place to go. I had to think about it in my mind. Like I said, I’m not into that part of it, the creative part.

CS: And in terms of your personal accomplishments, how high do you rank getting blocked by Trump on Twitter?

King: Not very high. Not very high. Getting blocked by Donald Trump on Twitter is a little bit like striking out the pitcher. I thought it demonstrated a sort of, I don’t know, I just think of a little kid with his little lip all the way pushed down, you know, it’s a childish thing to be done.

CS: Well, I thought it was pretty cool.

King: Not that you can’t. You know, thank you. I got a lot of good ink for that, actually. Go me.

CS: They managed to fit in your famous opening line, “The Man in Black fled across the desert and the gunslinger followed.” Were you happy with the way it’s incorporated into the film?

King: Yeah. I am. I was after them from the beginning to get that line in there. Not for me, but for the people who quoted it and stuff. It’s strange to me, but that line has become important to people, because when I wrote it it was just a line. It was a way into the story.

CS: It’s just this treasure trove in your mind. You’re so prolific and you’ve written so much. Where does that keep renewing itself from?

King: I don’t think it does. I think you get a finite number of stories, and when I was, let’s say 25 or 26, it was like people trying to escape a burning building. Inside my head, there were all these ideas that were crammed together, and I wanted to write them all at once. And now, I have less, but I’m grateful to have any, so that’s good. I’m working now, and that’s all I need. It’s a good thing. And I have a few ideas. I don’t know if they’re very good, but they’re ideas.

CS: Can you talk about what you’re working on now?

King: No. There’s a book done for next year and there’s a book that I wrote with my son called “Sleeping Beauties” that’s out next month. And he and I are going to go on tour. It’s nice to be able to write a book with your son. He told me what to do and I did it. This is a preview of the old folk’s home.

The Dark Tower is now playing in theaters everywhere.

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