Kristen Bell and Kelsey Grammer in Talks for Like Father at Netflix

Kristen Bell and Kelsey Grammer in Talks for Like Father at Netflix

Kristen Bell and Kelsey Grammer are in talks for the Netflix comedy feature Like Father

Kristen Bell (The Good PlaceVeronica Mars) and Kelsey Grammer (CheersThe Last Tycoon) are in talks for the upcoming Netflix comedy feature Like Father, according to THR. The film will mark the directorial debut of Lauren Miller Rogan, who co-wrote and starred in the indie comedy For a Good Time Call. The production is set to begin shooting in August in New York, and is reportedly going to shoot in the Caribbean as well. Molly Conners (Birdman), Anders Bard (I Love You, Man) and Amanda Bowers (Manglehorn) will produce alongside Miller Rogan.

Like Father is about a workaholic woman who’s groom leaves her at the alter. She goes on the honeymoon cruise anyway and meets up with her workaholic father who left the family when his daughter was five to focus on his career. Bell and Grammer are reportedly in talks to play the father and daughter.

Kristen Bell is known for playing the lead role in the cult hit Veronica Mars from 2004-2007, as well as the 2014 film. She was the voice of Princess Anna in the Disney film Frozen as well as Frozen Fever and Olaf’s Frozen Adventure. She’s also appeared in films like Couple’s RetreatWhen In RomeBad Moms and You Again. She played Jeannie van der Hooven in the Showtime series House of Lies and will be seen next in the film A Bad Moms Christmas, which opens on November 3.

Kelsey Grammer played the role of Dr. Frasier Crane on the TV series Cheers and it’s successful spinoff Frasier, for which he received a number of Primetime Emmy Awards. He voices the role of Sideshow Bob in The Simpsons and recently appeared in Neighbors 2: Sorority Rising. Grammer stars on the Amazon series The Last Tycoon, which will premiere on July 28.

Are you guys interested in Like Father? Let us know in the comments or tweet us @ComingSoonnet.

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Rachel Crow is in Talks for Bumblebee Transformers Movie

Deidra & Laney Rob a Train star Rachel Crow is in talks for Bumblebee

Deidra & Laney Rob a Train star Rachel Crow is in talks for Bumblebee

Deidra & Laney Rob a Train star Rachel Crow is in talks for a key role in the Transformers spinoff Bumblebee, according to Tracking Board. Jorge Lendeborg Jr. (Spider-Man: Homecoming, the upcoming Brigsby Bear) was recently cast opposite Hailee Steinfeld (True GritThe Edge of Seventeen) in the upcoming Paramount Pictures film.

Bumblebee has been a fan favorite since he was first introduced. He transforms from a Volkswagen Beetle in the earlier versions of the character. In the Transformers Cinematic Universe, he transforms into a Chevrolet Camaro. The character most recently appeared in Transformers: The Last Knight, starring Mark Wahlberg, Jerrod Carmichael, Isabela Moner, Josh Duhamel, Anthony Hopkins, Laura Haddock, Santiago Cabrera, Liam Garrigan and Stanley Tucci. The Bumblebee movie is reportedly a prequel to the Bay franchise, however, and will tell the story of the fan-favorite Autobot in the 1980s.

Christina Hodson, Brian Holdner, Stephen Davis, Lorezo Di Bonaventura, Michael Bay and Steven Spielberg are producing the Bumblebee film

Rachel Crow is known for her work in the film Deidra & Laney Rob a Train, which premiered at Sundance. She was recently cast in the upcoming untitled TV movie spinoff of the ABC series The Goldbergs. She was a finalist on season 1 of The X Factor and voiced Carla in Rio 2, as well as doing a song for the film’s soundtrack. Her voice was also heard in the Netflix series Home: Adventures with Tip & Oh, where she played Gratuity ‘Tip’ Tucci.

The Bumblebee film is set to hit theaters on June 8, 2018. What do you think of the casting of Rachel Crow in the Transformers spinoff? Are you excited for the film? We want to hear from you. Leave your thoughts in the comments below or tweet us @ComingSoonnet.

(Photo Credit: Getty Images)

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Exclusive: Dave Filoni Talks Rebels Season 4 Influences and the Allure of Live Action

Exclusive: Dave Filoni Talks Rebels Season 4 Influences and the Allure of Live Action

Dave Filoni talks Rebels season 4 influences and the allure of live action

Star Wars Celebration 2017 was a bittersweet one for fan-favorite creator Dave Filoni. The popular animation director was able to assemble the cast of his hit series Star Wars Rebels in front of a crowd of thousands of fans to tell them about the upcoming season, but also had to reveal to them that it was the final one for the show. We caught up with Filoni after the panel to talk about how he works in such an expansive franchise, his temptation by working in live action, and even how King of the Hill lead to Star Wars Rebels. One thing I’m always really fascinated to talk to people about is taking a live-action franchise and putting it in another medium and how some have the tendency to say, “we’re not limited by budget and all these things so let’s do whatever we want,” and some want to preserve the aesthetic of the franchise. So I wanted hear your take on that.

Dave Filoni: Well, I’ve never met anybody in this field that says they’re not limited by budget, that would be amazing. I think the challenge in our field is you are limited by budget, but who cares? You have to be creative and solve the problems within the budget and make it as great as it can be. The budget is the function of creativity here, it’s never a limiting thing, it just tells you how creative you’ve got to be. For me the goal on all the animated series that I’ve done is just to make them feel like they’re a part of the films. We might be able to do something stylistically that’s different, so I don’t really worry about photo realism but I do worry about the look of it stylistically, that we don’t take Star Wars in a direction that’s not authentic to it; so we use a touchstone of it like Ralph McQuarrie and say “It should FEEL a bit like that,” and then we evolve the style from there. I think that’s truly important. Something that’s this, the 40 year anniversary with a global fandom, there are things you expect from a Star Wars story, it’s true from the look of it to the tone of it, and I try to sit inside this as best I can, but I would never try to grossly change it or make too many concessions. But Hondo Ohnaka wears a different outfit in this show than in “The Clone Wars,” which is a function of the story and the budget, so it’s just little differences like that. As far as the story goes it shouldn’t be noticeable.

CS: Building off of what you said of keeping it still in that same space of the franchise, we saw in the trailer the scene of them riding this big wolf, which to someone that maybe is not as familiar with the cartoons and maybe just the movies might see that and think “That’s not Star Wars,” but there’s constantly giant animals…

Filoni: There’s always giant animals. There’s Dewbacks, there’s bizarre creatures and if you look closely they’re not straight-up wolves. Star Wars creatures are never really that tremendously bizarre and different. There’s a tendency now with the opportunities of CG to make things completely bizarre. A Dewback doesn’t really feel like anything much different than a big lizard, really? And a Bantha wasn’t something completely foreign to us, you could almost believe it was a real thing. I know stuff like that can be challenging, but it’s not just the visual of it, it’s how it fits in the story, what role it plays. I think when you look at something like a wolf and what it represents, even in our own world and reality it’s a challenging animal. There are people that love it and people that hate it and try to destroy it, people that try to protect it, so there’s a lot of similarities there to the Force and the light side and the dark side, and I find all that kind of interesting.


CS: I want to go back to the fight scene between Obi-Wan and Darth Maul and I love its simplicity, not how quick the fight itself is but how the scene itself is constructing around just these two characters in a scene and it’s very much like Kurosawa, and that was something George was playing with in the original movies. How often are you talking about those things that he was playing with then with the things you’re making now?

Filoni: It’s always in my mind. Working with George like I did, I really respect him and appreciate everything he taught me and I think that he gave me certain concepts and clues as to how this all works and what makes it special and what keeps it special. Something that’s just inherent in Star Wars is a love of film, a love of stories and storytelling and serialization. Kurosawa was something George deeply respected, and he worked with him, I wouldn’t use those things lightly but it seemed like an appropriate moment for that respect and usage of imagery. It felt right, it was the right place for it, but it’s always going to be an influence. Again, I can’t say enough, I’m not here to change Star Wars, I’m not here to make my version of Star Wars. I’m here to keep telling the story as authentically as I can.

CS: Another thing I love to talk to filmmakers and creatives about is the movies that maybe they take a kernel of an idea from there and expand on it in their work. The example I like to go to is I talked to the Russos on the set of Civil War and I asked them that question and the movie they kept talking about Se7en and at the time we thought “What does this mean?” but when you see the movie you say “Yes, of course it’s Se7en!” Are there any movies people wouldn’t guess are influencing you?

Filoni: There’s always a bunch. I think as a visual storyteller you’re always inspired by what you see other people doing and it effects you. Definitely in season four I was effected by the way the film “Close Encounters of the Third Kind” makes me feel. Some of the imagery and wonder that it portrays. I’m always influenced, as you can see by this first episode if you saw it, “Indiana Jones and Raiders of the Lost Ark.” Obviously that’s a truck chase moment, but it goes beyond that, it goes more into some of the wonder you see and the real question of this mystery about an Ark and an object, so I get some influence there. I love Carroll Ballard’s film “Never Cry Wolf,” which is one a lot of people aren’t familiar with, but it was a big movie for me growing up, so obviously it’s pretty easy to see the influence it might have had, and if you know the book by Farley Mowat, you know that it’s an influence. These are my experiences, I have some things in my own personal life that effected this season that I wrote to and I think really helped shape what goes on here, and allowed me to understand a deeper meaning for things that I didn’t understand before. I think all in all it’s a great season but you’re always effected by the movies around you. Every time I see what the other guys are doing, Rian (Johnson) and “The Last Jedi.” I love that opening shot of the trailer, it’s magic from me. It’s nice to draw inspiration even from the people working around you.


CS: You mention The Last Jedi, and there’s always fan chatter, they always want to know the next thing…

Filoni: Yes, they do.

CS: Even though they don’t have the thing that’s coming…

Filoni: Dessert before dinner.

CS: There seems to be a lot of people that have a desire for you to grab one of these standalone Star Wars movies, is that something you’re interested in or do you like the animation side?

Filoni: I’d be crazy to say I’m not interested in that. I don’t want to say that would be the ultimate, because I really enjoy the stories I’m telling now and I would never undercut them by saying they’re something less. I think the craft we do and the work we do in these series is tremendous and the artists we have working on them are amazing. But I can’t help but be curious about this live-action world and what I see there and the tremendous opportunities that are around me. It is very interesting to me, I respect the craft that it is, it’s a different style. I’ve been observing and learning a lot about it to see how I would do (it) and if it fits with my creative vision for things or would I encumber the process. I don’t do things like that unless I feel like I do have a real ownership and mastery of it, I just think it’s disrespectful to the crew that you would work with, who would obviously been tremendous professionals and I wouldn’t want to hinder them in any way. You know, we’ll see. In some circles you find you’re a master and in some circles you’re still a Padawan, we should always be learning, all of us. Always be learning.

CS: Before I let you go, I read online that you worked on King of the Hill.

Filoni: I did!

CS: Which is one of my favorite things. I don’t know if you can hear it but i’m clearly Southern.

Filoni: So that really connected for you?


CS: Completely. I just want to hear what it was like working on King of the Hill.

Filoni: It was a great experience. I really have to say that it helped in the long run, to shape where I got to, because at Film Roman on “King of the Hill,” I was surrounded by a lot of people that had worked on “The Simpsons” and had been on “King of the Hill,” so they’re incredible professionals in the animation industry. There is so much artistry that goes into that show. Mike Judge is an incredible writer, gave us incredible material to work with, but the directors and the animation people and story people I worked with I was able to learn a lot in a very short amount of time, and they’re lifelong friends. I still have people that I work with to this day that I met in that first year of my career. I was able to do character layout, I was about to do story boarding, I was able to become an assistant director, I was able to go visit the prop designers, the set designers, the background designers and just learn all about it, so it was a really valuable lesson.

You don’t think you go to art school to sit and draw four guys drinking beer by the side of a fence but then you find there’s a lot of artistry that goes into that. Also the way “King of the Hill” is shot you think of more like a three-camera television system, but I was able to do an episode where Hank visits the Dallas Cowboys training camp and I wanted to shoot that a lot more like the movie “The Natural.” So when I did the storyboard I thought when Hank picks up the football in the middle of the field, we’re in his head and in his head it’s this Roy Hobbes moment, and everybody loved that, and I think that’s where early on you get a glimpse of “I want a bigger frame and a bigger screen,” even on “King of the Hill” I want to play these ideas out. It was a wonderful experience, I really love it and the people that I worked with there. I worked with Mike DiMartino on “King of the Hill” and he later went on to create “Avatar: The Last Airbender” and I got a job on “Avatar” because we had a relationship, then I got taken off “Avatar” and put on “The Clone Wars.” So you never know where you start out where it’s going to lead.

CS: It all comes back to King of the Hill.

Filoni: It does oddly. I still have a maquette from that show that we have in my office up at Lucasfilm. (Editor’s note: Filoni begins speaking like Hank Hill from the series) “Dangit ya sit there and ya talk like these characters cause ya have ‘em in yer head all day.” You just can’t help it, they’re wonderful, wonderful characters. All of them.

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Franchise Mastermind Chris Morgan Talks Fate of the Furious

Franchise Mastermind Chris Morgan Talks Fate of the Furious. Read our Chris Morgan interview!

Franchise mastermind Chris Morgan talks Fate of the Furious

Screenwriter Chris Morgan has been behind the wheel of the Fast franchise since the third entry, The Fast and the Furious: Tokyo Drift, back in 2006. Starting with the fourth movie, he’s managed to put Vin Diesel‘s Dominic Toretto back at the center of things while keeping characters from every entry in the franchise in play. Now that Universal Pictures‘ eighth entry The Fate of the Furious has hit theaters, got a chance to talk 1-on-1 with franchise mastermind Morgan about all aspects of the series, including the Jason Statham controversy, why Dom went rogue, taking the series into space and putting Helen Mirren in a car! Beware of mild spoilers… Thematically the hallmarks of the Fast franchise are family and loyalty. In what ways do you think “Fate of the Furious” reinforces those themes?

Chris Morgan: Even deciding to do the movie after 7, especially after the tragedy with Paul and everyone having to link arms and try to decide whether to continue and how to give a great end to that movie. I think we did a good job for the audience and to give a cathartic send-off. We kinda stopped and had to really look at each other and say, “Is there a need to do another one? Do we WANT to do another one?” The answer is unless we have a story that’s really different and really worth telling, then we just don’t do it. We’ve had seven movies where our guys say, “You’ve gotta stick together as a family and you solve the problem together,” and they do. Suddenly there’s this exciting idea of what happens when the guy who’s the father figure, who’s your brother, who’s the moral core and has taught you all your lessons about your code and your life… What if he breaks from that and goes dark? What do the people around him do? Do they fall apart? Do they stick to the lessons? Something about that felt different for the franchise, an interesting question for the character that I think we want to lean into. Just that core idea got everyone really excited.


The answer is that even when Dom seemingly goes dark, abandons his code, goes against the team. Especially with Letty, Michelle Rodriguez. She has had faith, 100%, all the way through, she sticks to it, and at the end she’s rewarded. They’re ALL rewarded. Thank God for the faith, ’cause now the family’s back together. The family’s grown a little bit by the end of this film. It just kind of proves that the lessons Dom has been teaching the family and the audience now over eight films still hold true even in the darkest of times. “Have faith at all times” is what’s proved out by the end of these films.


Check out our full interview with The Fast and the Furious' Chris Morgan. Chris Morgan is the screenwriter.

CS: When I watch these films I love them for the soap opera-like twists of people you thought were dead aren’t dead, or good guys turning bad. Do you see it in those soap opera terms or do you like to look at it a different way?

Chris Morgan: I appreciate it in the same way. “Soap opera” has a good context and a bad context. I take the good context that we’re eight films in, we get one every few years, and the fact that we get to expand on these characters’ lives, throw new challenges in front of them, watch them grow, that’s the soap element to me. Look, we get it. We’re in on the joke of, “You say family so often people make drinking games about it!” True. True, but you also feel it in a weird way too. They’re not saying it because it’s popular for the franchise. The characters say it ’cause it’s true for them. I think the audience feels that…

CS: They feel the camaraderie and the earnestness of it.

Chris Morgan: I think so. It’s a fine line, believe me. You can say it too much, you can hit it too hard. We’re always judging what the right emotional tone for that is. As long as they believe it and they’re earnest about it then we stand in good ground on it.

CS: This has been called the first part of a new trilogy. What will set this trilogy apart from the previous set of films?

Chris Morgan: I think what we set up in 8 will pay off in 9 and 10. It feels like we’re building up to a big last showdown. I think you’re gonna feel the velocity moving towards an end of something. I think that’s gonna be important. If you’re a fan of the franchise you’re gonna want to see it, because it may be the conclusion.

Here's Chris Morgan at the Furious 6 premiere in Los Angeles. Chris Morgan is a screenwriter.

CS: The series has undergone a wild evolution from a street racing crime movie, essentially Point Break with cars, to a kind of Ocean’s 11-style heist franchise to now a full-on Roger Moore-era James Bond movie. Is there another genre left to explore with these characters or will it continue down this path?

Chris Morgan: No, I think it evolves. Can I get really nerdy with you for a second? Vin has said it in the past that he’s a big fan of Dungeons & Dragons, he used to play a lot. So am I, I still do, and when we break these down… going back to soap operas… we kind of look at it as being a dungeon master, creating a campaign for these characters. Every movie gives us a chance to create a hurdle for the characters, a dungeon or something. In going through the plot and the story they end up leveling up emotionally. That’s the groundwork we’re using. In terms of genre-shifting, it kind of comes down to what fits the story we’re telling right then. The shift from the car racing to a little bit of a heist thing to more government big world stakes kind of things….

CS: “Mission: Impossible,” essentially.

Chris Morgan: Yeah yeah, for sure. I started as a fan of the films. I stood in line at a theater to watch the first one at a late night show. When we’re developing these, the thing is I just remember the love of those characters and the action scenes. The threshold for it is, as a fan do I get excited about what I’m about to see. The shift to the heist thing felt like… our guys are characters who are not only racers but they are able to use cars as lateral ways of thinking. There’s a bank heist, how do you use cars to do it? There’s a government thing, how do you use cars to do it?

CS: There’s nothing that a car can’t solve.

Chris Morgan: Pretty much. (laughs) That should be a t-shirt. At least for Dom you’re 100% right. As for whether I think there are different types and models for it? I do. Will we end up seeing them? I think we will.

CS: I did love the fact that you mentioned Dungeons & Dragons. I understand you play D&D with other screenwriters like Craig Mazin and John August?

Chris Morgan: In fact I do! I was just there the other night, like a week ago.

CS: Do you guys ever say a line in-character and then it winds up in a movie?

Chris Morgan: Well we definitely do kind of role play it, and it is hysterically funny. I can’t think of any off-hand that have ended up in a movie yet. I’m certain character names and things like that will just as little inside jokes, but nothing I can think of so far.

The Fate of the Furious was scripted by Chris Morgan.

CS: You have some crazy set pieces in this movie, whether it’s Dom driving a flaming car backwards in Cuba, or the avalanche of drone cars in New York and, of course, the submarine chase. You probably spend a lot of time pitching set pieces. What were a few ideas you had where the producers were just like, “NO, that’s too crazy,” or “NO, that’s too expensive or reckless or what have you.”

Chris Morgan: That pretty much happens every movie. We only have two hours, we only have a certain budget, and I tend to think a lot in set pieces. This one we honed down pretty well. We knew we were gonna do the car race in cuba. By the way, that car race idea was actually something we wanted to do for the third movie. The original pitch for “Tokyo Drift” — I guess for the fourth one too — was Dominic Toretto goes to Japan ’cause something happened. Originally that sequence where Dom has to keep a car going even when it’s trying to break down was there. We’d never found a place to put it and we found the perfect place in Cuba. But, I’m trying to think of something that was too gigantic… we have a couple but the only problem is we may end up using them in what comes next.

CS: I know everyone always jokes about them going to space and all that. Is there definitely a line you think the series won’t ever cross?

Chris Morgan: Yes. I’ll tell you what the line is, but it’s a little bit of a fuzzy one. For me it’s a personal line, which is when I’m thinking about the fast films and the characters I want it to be blue collar. These guys aren’t special agents. They’re blue collar guys who happen to use their blue collar skills and their heart. They’re not all the smartest guys and they’re not all the fastest guys, but all of them have heart and none of them are ever gonna give up. When I watch superhero movies I love them, but I don’t attach to them in the same way because I know I can never be that guy. You always think you might be the guy who keeps going no matter what. I think everyone thinks they have heart. You want to keep these characters grounded in the real world, real world rules apply, although we go heightened with pretty much everything. The rule is we’ll do heightened physics, we’ll talk to people and say, “What is the maximum you can do with this car in terms of speed, energy, and whatever.” We’ll hit that line of what’s possible and we’ll fudge it sometimes and sometimes it goes over, you know. But if it ever breaks the movie, if you ever watch the movie and you’re like, “Forget this, that is so unrealistic that I can’t enjoy the set piece. I don’t care about the characters anymore.” You check out. That we’ll never do. An example of something that hits the line is the jet scene in “Fast 6.” At the end of the movie you do calculations, you figure that with the airspeed of the jet it’s probably a 26-mile runway. True, true, we knew that going into it, BUT when you’re watching it does it stop you? If the answer is no then we can kind of ignore it for a bit. I’m okay with that, I just need the physics to apply enough that the audience doesn’t reject it.

The Fate of the Furious was scripted by Chris Morgan. Chris Morgan is a screenwriter.

CS: Funnily enough, I once did an infographic based around that scene where I compared it to the runway scenes in “Argo” and “Die Hard 2.” I think your runway was three times as long as the one in “Die Hard.” It definitely went long.

Chris Morgan: Oh yeah. One of the funniest experiences I had was I went to a premiere and at the party I ran into Adam Savage from “Mythbusters” and he’d done a couple of “Fast & Furious”-style “Is this true? Is this not true?” things. He’d also done one for “Wanted,” which I wrote on, about all the curving bullets and stuff. Just to sit down with him and go, “Here’s what’s bullsh*t, here’s what’s not,” was one of the best nights. It was so funny. So again, the physics can get fuzzy, but I want to keep it more in the real world. So the question is, “Will you guys ever go to space?” The easy answer is, “No.” I think you kind of break faith with the audience if you do. Having said that, if there was the perfect story that fit it perfectly that the audience would then go, “You know what, that’s not a bad idea.” You never say no to anything. That’s one of the things we all agreed on: There’s gonna be no time travel, no dinosaurs, we’re not going into space. (laughs) It would be awesome if Dominic Toretto came into possession of Marty McFly’s DeLorean!

CS: I was honestly a little bummed that you wrote a movie for Helen Mirren AND Furiosa yet neither of them get behind the wheel. How good are the chances we’ll see these two very capable wheelwomen in some cars for part 9?

Chris Morgan: Incredibly high. Hopefully. That is my dream. I would love that.

CS: I know Helen has been very vocal about wanting to get into a car.

Chris Morgan: She was great. I got to talk to her about that. She was like, “Why wouldn’t you put me in a car?” I’m like, “Just wait. We’re gonna get you there and it’s gonna be an awesome sequence.

Chris Morgan is screenwriter on The Fate of the Furious. Chris Morgan spoke with CS.

CS: Another point, which I talked to F Gary about, was Jason Statham’s Shaw, who redeems himself to a certain extent, but how did you reckon with the fact that he killed Han just one movie ago and the level of acceptance within Dom’s crew?

Chris Morgan: I would say a couple of things about that. I don’t think we know Shaw’s full story, “we” being the audience. I think as things become clear some of those things will go away, so that’s a good thing, but beyond that what we do know right now as the audience is that Dom and Deckard actually have a lot in common. Dom, in the first film, was kind of considered a bad guy because he did a stint in Lompac, because of beating a guy down that almost killed his dad on a racetrack. Dom using violence against someone who hurt his family. Shaw’s story is not that dissimilar. His brother got messed up by Dom and his crew, so he lashed out. I think these guys may have a code in common… by the way, they may have gone about it the wrong way! (laughs)

CS: “Do as we say, don’t do as we do.”

Chris Morgan: Yeah, exactly. Deckard being able to recognize their code and then being able to recognize his code… I gotta say, I love Jason in this movie. We got really lucky. If you look at it, we got Vin, we got Dwayne, we got Jason, we got Charlize… there’s something very special about being able to lean into all these characters and let them get dirty and have fun. As a writer it’s just a wealth of riches to be able to get in the sandbox and play.

CS: You give everyone their moment, which is really cool. I didn’t come away feeling like,  “Oh, this person kind of got short shrift.” Everybody had their time.

Chris Morgan: I love hearing that. That’s the goal. When you’re doing an ensemble, everyone’s showing up… all the people have their favorite character in the franchise and you try to service all of them so that everyone gets that moment for their favorite character. That’s one of my favorite things about this franchise, which we started in 4 and 5, was to take Tyrese and Ludacris out of “2 Fast” and got to bring them into our franchise. “You guys like Dom and Brian? Great! We’re using Dom and Brian. You guys like Roman and Tej? Great, we got them as well. You like Han? Sung Kang? You like Lucas Black? You like Sean? We’ve got them. In our world we’ve got all these characters, and they are living their lives between movies, between the scenes that we see and don’t see. We kind of tell the audience that whatever you come to these movies for we agree with you, you’re right. You like the seventh movie best? God bless you. You like the first movie best? Awesome, we love it too! You like the fifth movie? You like the third movie?” They’re all equal, they’re all part of this world, and we’re a very accepting, inviting franchise. Whatever people like in our world we like it too, we’re just glad they’re enjoying themselves.

(Photo Credit: Getty Images)

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Don Cheadle in Talks to Produce and Star in Prince of Darkness

Don Cheadle is in negotiations to produce and star in the biopic Prince of Darkness

Don Cheadle is in negotiations to produce and star in the biopic Prince of Darkness

Don Cheadle (Hotel RwandaIron Man 3) is in negotiations to produce and star in the upcoming biopic Prince of Darkness, according to Variety. The film is the story of 19th Century black millionaire Jeremiah G. Hamilton, and is adapted from Shane White’s biography of Hamilton, called “Prince Of Darkness: The Untold Story Of Jeremiah G. Hamilton, Wall Street’s First Black Millionaire.” The script will be written by Steven Baigelman, who co-wrote Miles Ahead with Cheadle (Cheadle also starred, produced and directed the 2015 film.)

The Amazon description for the book states, “In the middle decades of the nineteenth century Jeremiah G. Hamilton was a well-known figure on Wall Street. Cornelius Vanderbilt, America’s first tycoon, came to respect, grudgingly, his one-time opponent. The day after Vanderbilt’s death on January 4, 1877, an almost full-page obituary on the front of the National Republican acknowledged that, in the context of his Wall Street share transactions, ‘There was only one man who ever fought the Commodore to the end, and that was Jeremiah Hamilton.’ What Vanderbilt’s obituary failed to mention, perhaps as contemporaries already knew it well, was that Hamilton was African American. Hamilton, although his origins were lowly, possibly slave, was reportedly the richest colored man in the United States, possessing a fortune of $ 2 million, or in excess of two hundred and $ 50 million in today’s currency.”

Cheadle is known for his work in films like TrafficOcean’s ElevenThe Rat PackMiles Ahead, about the life of jazz musician Miles Davis, and for the role of Colonel James ‘Rhodey’ Rhodes / War Machine in the Marvel Cinematic Universe.

What do you guys think of the story of Prince of Darkness? Are you excited to see Cheadle take on the role? Let us know in the comments or tweet us your thoughts at @ComingSoonnet.

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Sam Mendes in Talks to Direct ‘My Favorite Thing is Monsters’

My Favorite Thing is Monsters adaptation

After spending a few years of exploring James Bond’s personal demons, director Sam Mendes is considering adding another comic book adaptation to his filmography with My Favorite Thing Is Monsters. The director, who previously adapted Road to Perdition for the big screen, is in talks to turn Emil Ferris‘ acclaimed graphic novel into a movie for Sony. The story involves “B-movie horror and pulp monster iconography.”

Below, learn more about the potential My Favorite Thing Is Monsters adaptation.

Deadline writes that Sony won the project in a bidding war last week. Now, Mendes is in early talks to possibly direct and develop My Favorite Thing is Monsters through his production company, Neal Street. Ferris’ story is set in the 1960s Chicago and follows a 10-year-old, Karen Reyes, who’s trying to figure out who murdered her upstairs neighbor, Anka Silverberg, a Holocaust survivor.

Based on the graphic novel’s synopsis, there’s far more to the story than a murder mystery:

Set against the tumultuous political backdrop of late ’60s Chicago, My Favorite Thing Is Monsters is the fictional graphic diary of 10-year-old Karen Reyes, filled with B-movie horror and pulp monster magazines iconography. Karen Reyes tries to solve the murder of her enigmatic upstairs neighbor, Anka Silverberg, a holocaust survivor, while the interconnected stories of those around her unfold. When Karen’s investigation takes us back to Anka’s life in Nazi Germany, the reader discovers how the personal, the political, the past, and the present converge.

My Favorite Thing is Monsters is Ferris’ debut graphic novel. Previously, she worked as an illustrator and toy sculptor. The author was raised on creature features, which she cites as a source of inspiration. You can find some of her beautiful work at her website.

Here’s a page from the author’s graphic novel (published in February):

My Favorite Thing Is Monsters

The last time Mendes took on a graphic novel adaptation, we got the wonderful Road to Perdition. Mendes has considered other comic book properties over the years, namely Preacher, which he thought someone could one day make work as television series (and he was right, of course). As for superhero movies, they don’t interest Mendes, as if that wasn’t obvious based on most of his work.

Following the long and exhaustive Spectre shoot, it’s not surprising to see the filmmaker taking on a movie smaller in scale. The only other film project he’s attached himself to since his last Bond pic is Disney’s live-action James and the Giant Peach.

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Miles Teller In Talks to Join Shailene Woodley in Adrift

Miles Teller In Talks to Join Shailene Woodley in Adrift

Miles Teller is currently in talks to join Shailene Woodley in the survival film Adrift

Miles Teller (WhiplashThe Spectacular Now) is in talks to join Shailene Woodley (DivergentThe Fault In Our Stars) in the upcoming survival film Adrift from STX Entertainment, according to THR. The film is set to be directed by Baltasar Kormakur (Everest) and is based on the true story about “woman who sets off on a sailing trip to Tahiti with her fiance. But after a massive storm, the woman finds herself alone at sea with her boat in ruins.” The story reportedly looks back on their relationship as she attempts to save them on the 1,500 mile trip to Hawaii. Teller would play Woodley’s husband in the film. The script was written by Aaron and Jordan Kandell (Disney’s Moana). Adrift would likely begin shooting this summer.

Teller is known for his acting work in films like 2013’s The Spectacular Now, the Divergent series, 2015’s Fantastic Four and 2016’s War Dogs with Jonah Hill and Bradley Cooper. Teller has a couple films coming up, including the true-life fire fighting story Granite Mountain, which will hit theaters on September 22, 2017 and the PTSD film Thank You for Your Service, based on the 2013 based on the Pulitzer Prize-winning book of the same name by David Finkel. He’s also set to star in the upcoming original Amazon drama series Too Old to Die Young, directed by Nicolas Winding Refn.

Woodley and Teller have worked together a number of times. They’ve co-starred in all three Divergent films as well as The Spectacular Now. Are you guys interested in Adrift? Would you like to see Miles Teller work with Shailene Woodley for the fifth time? What Teller project is your favorite? Let us know in the comments or tweet us @ComingSoonnet.

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