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Maggie Gyllenhaal in the director’s chair

Jacob Scott

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At New York City’s Film Forum, Maggie Gyllenhaal and “CBS Mornings” co-host Tony Dokoupil perused the scheduled of upcoming features.

“What do you like over here?” he asked.

“I think I’m actually gonna come and see ‘Wild at Heart.’ I haven’t seen it in a long time,” she replied.

Maggie Gyllenhaal is more than your typical movie-buff. “We watched 24 movies in less than two weeks,” she said.

Maggie Gyllenhaal aims for the David Lynch, at New York’s Film Forum.  CBS News

And not only because you probably know her as an actress, in blockbusters like “The Dark Knight,” bingeable TV shows like “The Deuce,” and a long list of bold, even gritty roles, including an Academy Award-nominated performance in “Crazy Heart.” She also happens to be part of a mini-Hollywood dynasty – the daughter of director Stephen Gyllenhaal and screenwriter Naomi Foner, not to mention big sister to Jake.

But what really sets Gyllenhaal apart as a cinephile is that after all these years in and around the movies, her love for them is still growing.

“I wanna see movies more now than I ever wanted to see movies before,” she said. “I’ve seen, like, almost every movie that’s out this year.”

That now includes her own movie: “The Lost Daughter,” Gyllenhaal’s first as a screenwriter and as a director. It’s out in theaters and streaming on Netflix later this month, after what Gyllenhaal says was an exciting – if also excruciating – premiere overseas.

Actress-writer-director Maggie Gyllenhaal.  CBS News

“I felt like I was giving birth or something, really,” she said.

Dokoupil said, “So, you’ve been there as an actor seeing a film for the first time.”

“At the Venice Film Festival, yes.”

“Or at any place. For an actor it’s a moment to see what the director has cut together.”

“It is, like, way more intense as a director. Like, I mean, 100,000 times more intense!” she laughed.

Why? “I don’t know. Maybe because, I mean, this movie is everything I meant for it to be. It’s all my offering. Like, I have to stand behind all of it.”

And what a lot of it there is. The film is a psychological thriller and drama, the story of a woman who does something almost unimaginable, amid all-too-real flashbacks to her life as a young parent.

Gyllenhaal said, “I can’t tell you how many people have been like, ‘I shouldn’t say this, but I have fallen asleep on the floor while I was taking care of my kids.’ So many people have said that to me! And like that – like it’s a dirty, terrible secret.”

Olivia Colman in “The Lost Daughter.” Netflix

Secrets, or at least things left unsaid, are a big part of what drew Gyllenhaal to the project, which is based on a novel by Elena Ferrante, the mega-bestselling Italian writer known only by her pen name.

“People have spent a lotta time and energy trying to figure out who she is; not me,” Gyllenhaal said. “I’m, like, she asked to be anonymous? Let her be anonymous, you know? I’ve never spoken to her. I’ve never met her. All of my interaction with her has been through email. And there’s something amazing about her being anonymous, because she’s been so supportive.”

In fact, after Gyllenhaal wrote a long letter to Ferrante requesting rights to the story, Ferrante agreed … on one condition: “She wrote me back, and she said, ‘Yes, you can have the rights. But the contract is void unless you direct it.’”

She also offered Gyllenhaal an unexpected gift: “She said she thinks it’s really important that the movie be good. And she knows it will only be good if I make it mine. And so, she wanted to offer me freedom.

Ferrante has since said of the finished movie, “I liked the whole film,” calling it “true cinema.”

One of the book’s big truths now brought to the screen by Gyllenhaal is that motherhood – even when it’s a choice, and a joy – is not always a pleasure.

Dokoupil laughed, “How to say it delicately?”

“Yeah, yeah. But it’s funny, like, you have to say it delicately,” said Gyllenhaal. “It’s very complicated. And what I think is that it’s just that the spectrum of feelings about it are huge. And somehow our culture says, ‘If you feel, ambivalent, or terrified, or all these dark things, included in all the light ones, that somehow there’s something wrong with you, or that it’s abnormal.’”

Gyllenhaal grew up in southern California, but she was born in New York, and she’s raising two daughters of her own there (ages 15 and 9) with husband Peter Sarsgaard.

Dokoupil said, “So, you’re kind of out of the worst of it in terms of the most intensive, they need you all the time – ”

“I think so. I think so. I don’t think I could have made this movie with toddlers, but I was certainly thinking about it with toddlers.”

After nearly three decades on screen, Gyllenhaal is also realizing she has a whole new kind of career ahead of her: “There are a lot of people that don’t like actors with ideas,” she laughed. “I think that I just got tired of that. It takes a lot of energy. And I think probably looking back on it now that I have directed this film, which I love, I think probably I was always a director, and I just didn’t feel entitled to even know that I wanted that.”

“The Lost Daughter” is already an award-winner, taking (among other honors) best screenplay at the Venice Film Festival. And the 44-year-old Gyllenhaal says, beyond the movie’s ensemble of stars, which includes her husband, she sees a simple reason for the film’s success.

“Sometimes when you tell the truth about something that nobody’s been talking about, I think it can feel really invigorating, and exciting, and good, you know,” she said, “almost like an electric shock through you to hear the truth spoken out loud. You’re like, [gasp] ‘Oh, I agree!’ You know?”

And just in case you’re wondering, there’s a lot more to the movie than motherhood, just like there’s a lot more to being a woman that rarely makes it into movies – and that, above all else, is what Maggie Gyllenhaal the director is most excited to change.

“I’m just trying to be honest, that’s really all I’m doing,” she said. “Because for so much of my life, I saw my experience portrayed in ways that weren’t totally honest. And I wondered, ‘Is there, like, something wrong with me?’ Because this whole other – like, the edges of my experience, the nooks and crannies of my experience, I rarely see. And I think we can get confused if we don’t see reflections of our experience portrayed back at us.”

“So, here’s the world’s most obvious question: Are you gonna do it again?” asked Dokoupil.

“Yes!” Gyllenhaal laughed. “Yes, yes, yes. Yes, totally. Yes.”

To watch a trailer for “The Lost Daughter” click on the video player below.

The Lost Daughter | Official Trailer | Netflix by
Netflix on
YouTube

     
For more info:

“The Lost Daughter” opens in theaters December 17, and begins streaming on Netflix December 31.

     
Story produced by Aria Shavelson. Editor: Mike Levine.


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‘Moon Knight’ Took Marvel in a Different Orbit, but It Didn’t Rise to the Occasion

Jacob Scott

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Before anyone writes that off as an anomaly, “Eternals” tackled a similar introduction of a dense mythology on the bigger screen, with equally mixed results. It’s a reminder that while film-goers have had more than a decade to get to know characters like Iron Man, Captain America and Thor, introducing some of these lesser-known heroes can pose a more formidable challenge beyond catering to the most ardent fans.
For Marvel, there are warning signs in that, since “Moon Knight” will be followed by several series based on second-tier characters, although the next two on the horizon, “Ms. Marvel” (which is due in June) and “She-Hulk,” at least have the benefit of sharing franchises and name recognition with existing Avengers.
Ultimately, “Moon Knight’s” murky storytelling appeared to squander its principal assets, which included the cool look of the character — a costume that was too seldom used — and the presence of Isaac, who possesses additional genre credentials via the “Star Wars” sequels.

Taking its time in peeling back the layers of the character’s complicated backstory, “Moon Knight” took a weird plunge into the Egyptian mythology behind it, in ways that became increasingly confounding and surreal.

By the time the protagonist’s two halves, Steven Grant and Marc Spector, wound up in a psychiatric hospital talking to an anthropomorphic hippo in the penultimate chapter, the question wasn’t so much being able to keep up with the story as whether bothering to do so was worth the effort.

The sixth and final episode brought the plot to a messy close, seeking to stop the goddess Ammit from proceeding to “purify the souls of Cairo, and then the world.” In the customary credit sequence, the producers capped that off by introducing a third personality, Jake Lockley, also rooted in the comics. While that seemingly spelled the end for the show’s villain (Ethan Hawke), the finish — giving the god Khonshu the protégé he sought — paved the way for further adventures should Marvel so choose.

That last twist might be cause for celebration in narrower confines of the Marvel fan universe, but “Moon Knight” too often felt like it was one long Easter-egg sequence, conspicuously preaching to that choir.

Granted, Marvel has made clear that Disney+ offers the chance to explore different kinds of stories, but “Moon Knight” feels at best like a quirky showcase for Isaac and at worst a failed experiment in terms of execution and tone.

That doesn’t mean this “Moon” won’t somehow rise again, if the closely held streaming data justifies it. But the promise that surrounded this property has faded, providing further evidence that even Marvel isn’t immune from setbacks as it moves into its next phase.

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Start-up Pony.ai says it’s the first self-driving company to get a taxi license in China

Jacob Scott

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Autonomous driving start-up Pony.ai can collect fares for robotaxi rides in parts of two major Chinese cities as of Sunday.

Pony.ai handout

BEIJING — Self-driving start-up Pony.ai announced Sunday it received a taxi license, the first of its kind in China.

The license allows Pony.ai to operate 100 self-driving cars as traditional taxis in the Nansha district of the southern city of Guangzhou, the company said.

The Chinese start-up, which is backed by Toyota, received approval from Beijing city late last year to charge fees to operate a commercial robotaxi business in a suburban district of the city. It is not the same as a taxi licence.

Baidu’s Apollo Go also received approval in the same Beijing district last year.

Pony.ai was valued at $8.5 billion in early March. The company said its Nansha taxi license required 24 months of autonomous driving testing in China and/or other countries, and no involvement in any active liability traffic accidents, among other factors.

The start-up said it plans to launch commercial robotaxi businesses in two other large Chinese cities next year. The company is already testing self-driving cars in those cities and in California. 

Robotaxis in China currently have a human driver present for safety.

— CNBC’s Arjun Kharpal contributed to this report.

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How to watch Timberwolves vs. Grizzlies: TV channel, NBA live stream info, start time

Jacob Scott

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Who’s Playing

Memphis @ Minnesota

Current Records: Memphis 2-1; Minnesota 1-2

What to Know

The Memphis Grizzlies’ road trip will continue as they head to Target Center at 10 p.m. ET this past Saturday to face off against the Minnesota Timberwolves. Memphis will be strutting in after a win while Minnesota will be stumbling in from a loss.

The Grizzlies are hoping for another victory. They beat the Timberwolves 104-95 this past Thursday. The victory came about thanks to a strong surge after the first quarter to overcome a 39-21 deficit. Memphis’ success was spearheaded by the efforts of power forward Brandon Clarke, who had 20 points in addition to eight rebounds, and shooting guard Desmond Bane, who shot 7-for-15 from beyond the arc and finished with 26 points and six boards.

Barring any buzzer beaters, Memphis is expected to win a tight contest. They might be worth taking a chance on against the spread as they are currently on a two-game streak of ATS wins.

Memphis’ win brought them up to 2-1 while the Timberwolves’ defeat pulled them down to a reciprocal 1-2. A couple offensive stats to keep in the back of your head while watching: The Grizzlies come into the game boasting the second most points per game in the league at 115.6. But Minnesota is even better: they rank first in the league when it comes to points per game, with 115.9 on average. Tune in for what’s sure to be a high-scoring contest.

How To Watch

When: Saturday at 10 p.m. ET Where: Target Center — Minneapolis, Minnesota TV: ESPN Online streaming: fuboTV (Try for free. Regional restrictions may apply.) Follow: CBS Sports App Ticket Cost: $76.96

Odds

The Grizzlies are a slight 2.5-point favorite against the Timberwolves, according to the latest NBA odds.

The oddsmakers had a good feel for the line for this one, as the game opened with the Grizzlies as a 3-point favorite.

Over/Under: -110

See NBA picks for every single game, including this one, from SportsLine’s advanced computer model. Get picks now.

Series History

Memphis have won 19 out of their last 28 games against Minnesota.

Apr 21, 2022 – Memphis 104 vs. Minnesota 95 Apr 19, 2022 – Memphis 124 vs. Minnesota 96 Apr 16, 2022 – Minnesota 130 vs. Memphis 117 Feb 24, 2022 – Minnesota 119 vs. Memphis 114 Jan 13, 2022 – Memphis 116 vs. Minnesota 108 Nov 20, 2021 – Minnesota 138 vs. Memphis 95 Nov 08, 2021 – Memphis 125 vs. Minnesota 118 May 05, 2021 – Memphis 139 vs. Minnesota 135 Apr 02, 2021 – Memphis 120 vs. Minnesota 108 Jan 13, 2021 – Memphis 118 vs. Minnesota 107 Jan 07, 2020 – Memphis 119 vs. Minnesota 112 Dec 01, 2019 – Memphis 115 vs. Minnesota 107 Nov 06, 2019 – Memphis 137 vs. Minnesota 121 Mar 23, 2019 – Minnesota 112 vs. Memphis 99 Feb 05, 2019 – Memphis 108 vs. Minnesota 106 Jan 30, 2019 – Minnesota 99 vs. Memphis 97 Nov 18, 2018 – Memphis 100 vs. Minnesota 87 Apr 09, 2018 – Minnesota 113 vs. Memphis 94 Mar 26, 2018 – Memphis 101 vs. Minnesota 93 Dec 04, 2017 – Memphis 95 vs. Minnesota 92 Feb 04, 2017 – Memphis 107 vs. Minnesota 99 Nov 19, 2016 – Memphis 93 vs. Minnesota 71 Nov 01, 2016 – Minnesota 116 vs. Memphis 80 Oct 26, 2016 – Memphis 102 vs. Minnesota 98 Mar 16, 2016 – Minnesota 114 vs. Memphis 108 Feb 19, 2016 – Memphis 109 vs. Minnesota 104 Jan 23, 2016 – Minnesota 106 vs. Memphis 101 Nov 15, 2015 – Memphis 114 vs. Minnesota 106

Injury Report for Minnesota

No Injury Information

Injury Report for Memphis

Dillon Brooks: Game-Time Decision (Foot) Santi Aldama: Out (Knee) Killian Tillie: Out (Knee)

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