‘Someone From Nowhere’ – Variety – Sharing Variety Magazine

Thai filmmaker Prabda Yoon delivers suspense with a surreal touch in this gripping domestic psychodrama.

An injured man turns up in a woman’s apartment and claims he’s its real owner in “Someone from Nowhere,” a gripping existential psychodrama by multitalented Thai filmmaker Prabda Yoon. In a stylistic backflip from his flashy, trashy and occasionally inspired debut feature “Motel Mist,” Yoon delivers a precision-tooled two-hander that begins as a home invasion thriller and turns into a tense and sometimes surreal discourse on identity, memory and survival. Armed with a killer final line of dialogue that’s sure to get many viewers thinking and talking about what they’ve just seen, this quality item should notch plenty of festival mileage and has theatrical art house potential locally and regionally. Domestic release details are pending.

A noted multimedia artist, novelist and scriptwriter whose credits include the Pen-ek Ratanaruang-directed features “Last Life in the Universe” and “Invisible Waves,” Yoon sets almost the entire film inside a well-appointed apartment within the fictional Liberty Land complex. On the rare occasions his camera ventures outside it’s for seemingly mundane or apparently unrelated matters that assume much greater significance as the drama unfolds.

Yoon’s first scene is set with such normality and neutrality that it becomes quietly compelling. A long sequence showing the apartment’s twentysomething occupant, Napatsorn Ponnapa (Chayanit Chansangavej), going about her unremarkable morning routine of exercise, breakfast, hair and make-up. Eight minutes of dialogue-free activity passes before Napatsorn takes uneventful phone calls from her mother and a female friend who’s visiting later in the day.

Just as viewers might be wondering where all this is heading Napatsorn finds an unconscious and injured young man (Peerapol Kijreunpiromsuk) lying in the hallway. In the time it takes her to call building supervisors for assistance the man enters her apartment and stretches out on the sofa. The stranger might possibly be dangerous, but he’s been badly roughed-up and is carrying a severe hip wound that surely would prevent him from overpowering Napatsorn. But physical threats are not what this smiling and polite intruder is about.

As the wait for help becomes uncomfortably long, the man turns his attention to Napatsorn’s print of Henri Rousseau’s “The Snake Charmer.” After declaring it to be his favorite and commenting on Rousseau’s ability to depict exotic places even though he never left Paris, the man casually says it’s actually his print hanging on the wall and this is his apartment. What’s more, he’s come to reclaim it from “trespasser” Napatsorn and challenges her to provide proof of ownership.

Naturally, Napatsorn thinks the guy is deranged and calls the cops. More annoyed than angry, she agrees to show him the relevant paperwork if he’ll immediately leave afterward. Tension ramps up when Napatsorn discovers her deed contains only blank pages. Attempts to call her mother and police produce static at the other end of the line. Her name has suddenly disappeared from letters and envelopes. For all his talk about having his possessions taken and life ruined by a now-rattled Napatsorn, the man remains controlled, as if this process is merely rectifying a fault in the natural order of things.

Things get creepier and the stakes become potentially deadly when the man describes tiny details of the apartment only the owner could possibly know. The film’s meticulously filmed and edited final third incorporates a trippy rewind and remix of selected prior events while answering the question of whether this is an elaborate hoax or something far more complex.

An intimate two-hander such as this demands excellent performances, and that’s exactly what Chansangavej and Kijreunpiromsuk deliver under Yoon’s precise direction. Kong Pahurak’s sleek camerawork and a terrific score by Jitivi Banthaisong that combines crunching industrial noise and other-worldly electronica are highlights of a first-class craft package.

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‘Drink the Kool-Aid’ Introduces a Whole New Ally – Variety – Sharing Variety Magazine

SPOILER ALERT: Do not read on unless you’ve seen Season 7, episode 9 of “American Horror Story,” titled “Drink the Kool-Aid.”

Now that we’re all the way into episode 9, this is where “American Horror Story: Cult” is starting to get really interesting. It’s not just for Kai’s (Evan Peters) cartoonish quest for power — though that’s fun, too — but “Drink the Kool-Aid,” masterfully directed by “AHS” vet Angela Bassett, introduces us to an entirely different version of Ally (Sarah Paulson). And also, sassy Oz. Sassy Oz is a lot of fun.

Kai kicks off the episode by telling his followers a fairytale of sorts. With admiration, he retells the exploits of cult leaders like Heaven’s Gate’s David Koresh, interspersed with childish interjections like “Isn’t that cool?”… and of course, he had “divine semen,” and so forth. But Kai seems especially taken with Jim Jones, the man from which the phrase “drink the Kool-Aid” comes from. Peters is almost unrecognizable as he plays Jones in a reenactment of the gruesome scene in which his followers commit suicide, and Kai’s army eats it up — until they realize what they’ve gotten themselves into.

“Wait, are we a cult?,” asks one of the followers, who have been given names like Tripod, Heart Attack, and Speedwagon. “I thought we were a political movement.” It’s not labels that Kai values, though, but loyalty. He asks his followers if they would die for him, and many say they would. And Kai’s power is extending beyond his wayward guards.

On the city council, he champions a ban on websites by the “left-wing propagandists” of the media. One councilman opposes him, strongly at that, but the others vote in favor — it almost seems as though they’re under his thumb. There, he announces his run for Senate, but the councilman who’s not-so-friendly toward him reminds Kai that he’d be running against a popular incumbent. But I think it would be safe to say that Kai has his own way of dealing with tough competition (RIP Sally Kefler).

Getting back to the thoroughly troubled Mayfair-Richards, Ally confronts Ivy (Alison Pill) over joining the cult, putting their son in danger, actual murder… you know, typical married-couple quarrels. Ivy, though, seems genuinely remorseful for what she’s done, explaining that she at least thought she hated Ally. But Ally’s returned for the family, and Oz arrives with Winter (Billie Lourd). Ally, whose fears are a thing of the past, presents Oz with a Twisty comic before Winter apologizes to her. Rudy’s (Cheyenne Jackson) murder, it seems, has snapped her out of her trust for Kai.

Winter wants to plot an escape, getting her advice from WikiHow, no less (in case you forgot that Winter is a millennial). They all seem to agree that running is the way to go, but before they can make a break for it, Kai’s guards arrive and demand that they come with them — Oz included. At what could be called the Cult Headquarters, Beverly (Adina Porter) is unleashed on Winter, attacking her for lying to Kai about Samuels’ (Colton Haynes) murder. But Kai enters and reminds them that they need to get past the “petty s—” of politics and enter the “power space.”

He sets a bowl of punch in front of them, and they protest as he pours them all cups of the liquid. It’s not just the women, however — the men have to go through with it, too. When one of the guards, Puss Bucket, refuses, Gary (Chaz Bono) shoots him dead. Realizing their lack of choices, they all down the hatch, the women terrified and most of the men grandstanding. Don’t worry, though. It was all a test! It really is just punch, but now they’ve proven their loyalty. Plus, why kill his followers when Kai’s running for office?

With that wake-up call, though, Ally and Ivy are officially running for the hills. They go to pick up Oz from school, but to their horror, find out that he’s already been picked up by his “nanny,” Winter. Kai has Oz, almost taunting him with talk of how “two mommies can’t make a baby.” Oz is generally unimpressed, however, until Kai tells him that he’s actually his father. Once Ally and Ivy arrive, he repeats the same story to them — he used to donate pretty frequently to the sperm bank they went to to conceive, so it’s not impossible. Fearing for Oz’s life, they leave him with Kai for a sleepover.

On the bright side, that allows Ally and Ivy to have a romantic evening alone. The scene is a role reversal for the two: Ally tries to calm Ivy down, becoming the perfect wife as she makes pasta and pours her wine. But as Ally starts to tell what happened to her in the psych ward, how Ivy left her all alone, Ally’s motives become clearer. Her need for revenge, she said, replaced her phobias, and Ivy insists that this new bada– Ally is just a “passing phase.” But then she starts to choke on her dinner and Ally reveals, as she watches Ivy die on the ground in agony, that she poisoned the meal. And now she’s out to save Oz.

Meanwhile, it’s storytime once again at the cult. Kai picks up his Jones story, giving it a different ending: Jesus Christ himself comes to resurrect Jones’ followers, and they all live happily ever after. Oz, however, notes the many holes in his story, citing Wikipedia, of course. Kai accuses him of being a “doubter” and resorting to “fake news,” and one of the officers drags the child into time out.

Ally has a plan, though. She goes to the sperm clinic and finds out that Kai was not, in fact, their donor… but she wants him to think he is. After swapping out a photo of the actual father for one of Kai in the file, she invites him to dinner, where she gleefully tells him she killed Ivy. Once she tells him he’s Oz’s father, Kai is overcome with joy over his “messiah baby.” She uses his own trick against him, making him feel special and loved. After they drag Ivy’s body into Kai’s parents’ room, now they can “be a real family,” Kai proclaims. We’ll just have to see how this dysfunctional family works out, especially given Ally’s desire to kill Kai. For once, she has the upper hand.

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What’s Your Favorite Marvel Movie Series? – Variety – Sharing Variety Magazine

As “Thor Ragnarok” hits theaters this weekend (likely generating a massive box office take in the process), now’s as good a time as any to look back at the Marvel Cinematic Universe as a whole.

There was the one that started it all, “Iron Man,” which launched the MCU in 2008. Robert Downey Jr. defined — and continues to, in the Avengers movies — the snarky Tony Stark as it went on to spawn two sequels and break box office records.

And then, of course, there’s Thor, everyone’s favorite God of Thunder, with Chris Hemsworth headlining movies ahead of “Ragnarok” in 2011 and 2013. Speaking of the Hollywood Chrises: Chris Evans made his debut as Captain America in his own movie ahead of the release of “The Avengers,” which started its own series.

“Guardians of the Galaxy” added a new flavor to the movie universe in 2014, with Star-Lord, Gamora, Rocket, Groot, and Drax capturing the hearts of fans and starting its very own series within the MCU.

Which Marvel series is your favorite? Weigh in below! (Note: This poll does not include movies that didn’t spawn a sequel, like “The Incredible Hulk,” or movies that haven’t seen their sequels debut yet, like “Ant-Man,” “Doctor Strange,” and “Spider-Man: Homecoming.”)

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Peace is in Stillness

Whenever a rough patch comes, clouds cover the sun. When I feel I need to overcome negativity around me, peace is in stillness. Balance of reflection and engaging in a quite cheerful hobby or sometimes a loud past-time so stillness is possible later whether soaking in the negative ions in nature, meditating in solitude or yoga pose under the sun and trees.
DiLee - stay in sage side

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‘Stranger Things’ Kids on ‘Darker’ Season 2, Loving the ’80s – Variety – Sharing Variety Magazine

The kids are more than all right.

While the adult actors have their fair share of acting to do in season two of “Stranger Things,” much of the heavy lifting falls to the kids: Not just Millie Bobby Brown’s telekinetic Eleven, but the boys — Gaten Matarazzo (Dustin Henderson), Finn Wolfhard (Mike Wheeler), Noah Schnapp (Will Byers), Caleb McLaughlin (Lucas Sinclair) — and the new girl in town, Sadie Sink (Max).

She fit in immediately, says Wolfhard. “We were like, ‘What could the new people do? Are they going to be comfortable with us?’ But we were so lucky to have people that were so nice and easy to work with.”

Sink went through four or five callbacks before she landed the role of Max, the skateboard riding tomboy who at first resists the boys, but eventually becomes one of the pack.

“I liked how the kids were one of the main focus of the show,” said Sink. “There’s not a lot of television dramas out there right now where the kids are such a main part of the show.”

The kids all bonded during their time on set in Atlanta, miles away from Hollywood — especially the girls, Brown and Sink (just check their Instagram accounts). “We’re all insanely close, because we’re all in it together,” says Wolfhard. “You’re not just by yourself in this weird new thing. You’re experiencing it with other kids.” On a day off, they all went to an amusement park in Georgia together, which was shut down just for them. “It was so cool because we didn’t have to wait on line,” Wolfhard recalls. “We could just go straight through it.”

The show’s creators the Duffer Brothers were like “big brothers” to them (“It doesn’t seems like we’re working when we’re on set with them,” says Sink), while David Harbour (Chief Hopper) and Winona Ryder (Joyce Byers) offered a “master class in acting,” reports Sink.

Faced with a difficult scene, Schnapp reached out to Ryder for help. “She brought me in her trailer, and she sat with me for an hour,” he says. “We worked together on it, and it looks awesome.”

Admittedly, much of the ’80s references were before their time. Wolfhard says his parents helped him brush up, as did Sink, who says her parents filled her in a bit about the decade — especially the music.

“I like how there’s not as much social media in the ’80s, no technology,” she says. “Kids also had more freedom in the ’80s. You see in the show, they ride their bikes everywhere they want — but now, you’re scared about strangers and what might happen.”

Schnapp, too, has learned to appreciate the decade. “If I could choose any time to live in, it would be the ’80s,” he says. “They had bikes, they had walkies. It was so cool.”

“If I could choose any time to live in, it would be the ’80s’…They had bikes, they had walkies. It was so cool.”
Noah Schnapp

Even though Max is more of a tomboy than she is, Sink says she could relate to the character’s laidback attitude, though she did have to learn how to skateboard. “It was hard in the beginning just making it look like I’d been skateboarding my entire life,” she says. “But as I got better at it it was fun learning tricks and working with the instructor, and I learned to love it.”

he success of the first season took them by surprise, especially the immediate impact on their social media accounts. “I think the moment it hit me was when we won the SAG award,” says Schnapp, who says he hugged the trophy all night, and now keeps it in his room. “We never thought we would win. It was probably the best night of my life.”

Sink won’t reveal whether she’ll be back for Season 3, but says “I feel like this role has been the most fun role to play out of any other that I’ve had, particularly because I’ve never really been on a set where the cast is as close as this one. I was surprised how close everybody is. It’s not fake. Everybody really truly respects one another and wants to spend time with everybody.”

Schnapp’s Will takes center stage this season, and the young actor says the Duffer Brothers — who’ve said they were blown away by his performance — taught him not to be afraid of taking risks. “I had a lot of hard and emotionally challenging scenes this year,” says Schnapp. “I really just learned not to be afraid to do stupid and crazy stuff and I took risks this year. We’ll see if it paid off or not.”

But he thinks the second season is “even better” than the first. “I personally think the second season is amazing,” he says.

Wolfhard was confident fans were going to love Season 2, perhaps even more than Season 1. “We knew we had to go hard in the second season, just like we did with the first one, but a lot of things would be improved,” he says. “The only thing that’s different is that we’re exploring more what’s happening with Hawkins and his methods, and I think fans deserve that,” he says.

His chemistry with Brown — and that famous first season kiss — comes even more into play in the second season, with his Mike pining for the missing Eleven. “It was cool to see Mike shine in a different light this season because the first season he was a super adventurous and intense kid,” Wolfhard says. “In the second season, he has a sadder, moody teenager type vibe. But as the season progresses, he gets more into his Mike mode.”

And though they agree this season is more intense than the first (“It’s a lot darker and spookier and scarier,” says Schnapp), working on it didn’t faze them. “I’m scared of stupid things like spiders and isolation,” says Sink. “Being alone, that’s what I’m really scared of.”

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PS4 Software Sales, Stronger Movie and TV Earnings Boost Sony’s Second Quarter Earnings – Variety – Sharing Variety Magazine

TOKYO — Sony today announced increases in revenues and net profit in the second quarter of the current fiscal year.

Net profit increased $1.11 billion (¥126.0 billion) year-on-year to $1.19 billion (¥130.9 billion), while operating profit gained $1.4 billion (¥158.5 billion) year-on-year to $1.81 billion (¥204.2 billion). Revenues rose by 22.1% compared to the same quarter of the previous fiscal year to $18.25 billion (¥2,062.5 billion).

One big contributor to positive results was the Games and Networks Service segment, which reported a 35.4% year-on-year sales gain to $3.83 billion (¥433.2 billion), with strong PlayStation4 software sales driving growth.

Sales in the Pictures segment rose 27.0% year-on-year to $2.16 billion (¥244.0 billion). Both higher movie and media network earnings contributed, led by brisk ticket sales for the global hit “Spider-Man: Homecoming” and higher ad and subscription sales for SPE’s Indian sports network.

Meanwhile, for the six months ending on Sept. 30, operating profit rose $2.3 billion (¥259.9 billion) year-on-year to $3.2 billion (¥361.8 billion) with the semiconductors segment making a major contribution. Sales for the same period gained 18.7% year-on-year to $34.69 billion (¥3,920.6 billion).

Sony has boosted its forecast figures for the 2017 fiscal year from the outlook announced in August. The company now expects net profit to total $3.36 billion (¥380 billion), compared to the previous $2.26 billion figure (¥255 billion), for a gain of $2.72 billion (¥307 billion) year-on-year. It also raised its revenue forecast from $73.45 billion (¥8,300 billion) to $75.22 billion (¥8,500 billion) for a year-on-year increase of 12%. Exchange rate shifts, as well as higher-than-expected sales in the Music and the Home Entertainment and Sound segments, helped prompt the corrections.

The outlook for the Pictures segment remains unchanged from August, however, with operating profit for the fiscal year expected to total $350 million (¥39 billion) for a year-on-year gain of $1.06 billion (¥120 billion) and revenues forecast to grow 13% year-on-year to $9.03 billion (¥1,020 billion).

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DILEE Performs House of Blues Before They Close!

DILEE is performing live with an acoustic band Cori Jacobs, fellow Grammy member and Trevor Coppola, distant relative of Francis Ford Coppola in the Voodoo Lounge at the House of Blues, Saturday night, April 25th 6:30pm – 7:30pm. Pre-sale tickets from band members are discounted but $10 at door.

DILEE Ticketmaster House of Blues Apr 2015 small kbHouse of Blues closes their doors in July of this year after being there for almost 2 decades. The site has been approved to build a hotel and condominium complex. Catch one of the last shows at this venue EVER!


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Paramount Finds ‘Pet Sematary’ Directors (EXCLUSIVE) – Variety – Sharing Variety Magazine

Following the huge success of summer blockbuster “It,” Paramount is ready to get the gears moving on another Stephen King classic.

“Starry Eyes” helmers Kevin Kolsch and Dennis Widmyer have been tapped to direct a “Pet Sematary” remake at the studio.

Lorenzo di Bonaventura is producing the remake to the 1989 horror classic, which was directed by Mary Lambert and written by King, along with Steven Schneider. Matt Greenberg and David Kajganich wrote the script.

The original “Pet Sematary” was based on the King novel, which follows the travails of a family who moves into a new home next to a cemetery endowed with powers that allow the creatures buried in it to come back from the dead.

The original brought in $57 million on an $11 million budget, which led to a less commercially successful 1992 sequel starring Edward Furlong and Anthony Edwards.

Paramount had been ramping up its director search since the success of “It,” with directors like Shawn Carter and “47 Meters Down” helmer Johannes Roberts also meeting to possibly take on the role.

Kolsch and Widmyer first gained notoriety with their 2014 indie horror pic “Starry Eyes,” which caught the eyes of various studio execs and was partly funded by a successful Kickstarter campaign.

The duo is repped by WME.

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Battle Ballad on iTunes and Tribute Video Interview

Dilee Battle Ballad tribute video interview 6:30am PST 9/11/13 Live TV NSS with Bryan Angus


Battle Ballad Feat. Tina Guo, Cello available 9/10/13 on iTunes

DiLee iTunes

Watch “Battle Ballad” with military stats

Written by Dilee and Nel Gerome © 2013 available on iTunes: https://itunes.apple.com/us/album/battle-ballad-feat.-tina-guo/id701025363

A special tribute, Battle Ballad is dedicated to our U.S. troops and any and all victims of war everywhere including 9/11 victims and survivors as well as any and all individuals involved in domestic violence. It is a tear jerker with hope and a message to live and embrace in peace today for there are ripples of negative energy on both sides for and from every violent act. Chorus lyric “kiss me now you fool…” is a metaphor in saying it is up to us in living for today and loving one and all who are important in our lives.  Storyboard & Directed by J.R. Griffin (former US military), D.P. Laura Beth Love, Co-starring Tina Guo as Grim Reaper & Angel, Will McMichael former US military as husband soldier, and Jarrald Ingram former US military as enemy soldier. Edited by Brian Porter.  Beaded Jewelry by Lea Ingram.  Special thanks to the Ingrams for the use of their home to film this project.

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Abigail Breslin, Denise Richards to Star in ‘Saturday at the Starlight’ (EXCLUSIVE) – Variety – Sharing Variety Magazine

Abigail Breslin, Denise Richards, and Michael Madsen are starring in the independent comedy “Saturday at the Starlight,” currently shooting in Los Angeles.

The project is an ensemble comedy, in the vein of Richard Linklater’s 1993 comedy “Dazed and Confused,” set in a roller rink on a single night in the mid-’90s. The story traces a canceled prom, a tween birthday bonanza, and a drug money pick-up gone awry.

The cast that includes Tony Cavalero (“School of Rock”), Booboo Stewart (“Twilight”), Brec Bassinger (“Bella and the Bulldogs”), Brenna D’Amico, and veteran comedian Brian Huskey along with newcomers Dylan Summerall and Breaker Novogratz.

Phillip Clark Davis is directing from a screenplay by Jake Disch and Nick Gligor. Producers on the project include Lee Eisenberg (“Bad Teacher,” “The Office”), Linne Radmin, and Jimmy Summerall.

The project is the first feature film from Brat, a digital company that’s released more than a dozen series on YouTube with recognizable players including Annie LeBlanc, Hayden Summerall, MaeMae Renfrow, Meghan McCarthy, Madeleine Byrne, and Cristian Oliveras. Founded by Rob Fishman — who previously started Niche, a digital marketing company acquired by Twitter — the company is backed by Lerer Hippeau Ventures, Shari Redstone’s Advancit Capital, and the Chernin Group.

“This generation of teens deserves the sort of iconic, sophisticated films that we grew up watching in the Eighties and Nineties,” said Asher Levin, a partner at Brat.

Breslin received an Academy Award nomination for 2006’s “Little Miss Sunshine.” Other credits include “Signs,” “August: Osage County,” and Fox’s “Scream Queens.” Richards has credits on “Wild Things,” “The World Is Not Enough,” and “Blue Mountain State.”

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