Over A Dozen Celebrities Took A Photo Together, And It's The Most Epic Selfie Ever
So, CinemaCon, the largest gathering of movie theater owners from around the world, was held from March 31 to April 3.
The convention, which took place in Las Vegas at Caesar's Palace, was jam-packed with all the biggest stars there to promote their upcoming projects.
Of course, I must mention the jaw-dropping announcement that artsy film hot throbs Paul Mescal, Joseph Quinn, Barry Keoghan, and Harris Dickinson will be portraying Paul George, Ringo, and John of The Beatles.
Regina Hall, Teyana Taylor, and Leonardo DiCaprio were fashionably fire as they promoted Paul Thomas Anderson's black comedy satire One Battle After Another. The movie also stars Sean Penn, Benicio del Toro, and Chase Infiniti.
Rachel Brosnahan, Nicholas Hoult, and David Corenswet made me sweat from how gorgeous they appeared when promoting James Gunn's Superman, which also features Nathan Fillion, Milly Alcock, and Isabela Merced.
Leading daddies Colman Domingo and Josh Brolin looked mad adorable, as they promoted their upcoming film, Edgar Wright's The Running Man, which also stars Glen Powell.
The force of studliness was strong with Mark Hamill, there to promote The Long Walk, a dystopian horror film based on Stephen King's 1979 novel. Basically, everybody who had a new movie coming out was in attendance.
To close out their presentation, Amazon MGM Studios orchestrated one of the most star-studded selfies in recent history, and I'm fangirling hard because it's nothing short of epic proportions.
Vivica A. Fox held the magic staff of self-photography and captured the moment that gave Ellen's 2014 Oscars selfie a run for its money.
Jerod Harris / Getty Images for CinemaCon
Therefore, this moment calls for another attempt to break down who's who because this is what I do with my precious time.
There's Chris Hemsworth and the one and only Halle Berry...
...and filmmaker Bart Layton promoting Crime 101, a new film featuring Mark Ruffalo, Barry Keoghan, Monica Barbaro, Corey Hawkins, Tate Donovan, Devon Bostick, Jennifer Jason Leigh, and Nick Nolte.
Chris Pratt and filmmaker Timur Bekmambetov were promoting Mercy, a new film also featuring Rebecca Ferguson, Annabelle Wallis, Kali Reis, Chris Sullivan, and others — set for release early next year.
There's Daniella Pineda, Cynthia Addai-Robinson, and the bearded studs Ben Affleck and Jon Bernthal alongside filmmaker Gavin O'Connor for the follow-up to the 2016 original, The Accountant 2, which will be in theaters on April 25.
Jerod Harris / Getty Images for CinemaCon
Filmmakers Phil Lord and Chris Miller were joined by Ryan Gosling for their film, Project Hail Mary, which also features Sandra Hüller.
Jerod Harris / Getty Images for CinemaCon
One of my favorite directors, Luca Guadagnino, was joined by Andrew Garfield and the undeniably radiant Ayo Edebiri for Luca's After the Hunt, which will also include Julia Roberts.
Finally, Vivica was flanked by Aleshea Harris and Mallori Johnson for the film adaptation of Aleshea's three-time Obie-winning play Is God Is, which also features Sterling K. Brown and Kara Young.
Jerod Harris / Getty Images for CinemaCon
I feel like all studios should make a habit of getting all the actors and filmmakers for their projects together for selfies because this photo makes me yearn for an epic ensemble movie starring all of them.
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Here, she talks with Liv Hewson, who plays teen Van (and who uses they/them pronouns), about their favorite costumes, the one look that defined their character, and what they took from the set. SEE'I was terrified — she has an Oscar for "Million Dollar Baby"': Melanie Lynskey on her epic 'Yellowjackets' fight with Hilary Swank Gold Derby: How do you work together in creating your character's look? Marie Schley: In terms of this season, it was a different process, because for the pilot, you put together a concept for your director and your showrunners, and then you do your fitting. But the characters evolve — certainly, Liv's character has. And so for this season, we are piggybacking on what's been established before, but also bringing in new ideas, more input, from the actors, because they're really living these characters. Liv Hewson: One of my favorite things about the process of figuring out the clothes on this show is how collaborative it is working with Marie. The restriction of Yellowjackets costume-wise is fun in that there literally is a finite amount of clothes that all of these characters are working with. The actor nerd in me really gets a kick out of tracking who would be wearing what, and what would they be using the clothes for. Something that is always really important to me is that Van is a butch lesbian, so what does her clothing say about her and communicate about her within the restriction of where they are? And how does her style evolve out in the wilderness? So it's about coming up with little nods, like her cutting the sleeves off of things, and masculinizing the clothes that they're all sharing. That was something that was really important to me. So it has been this beautiful process of discovery of these characters over the course of the experience they're having, while having to work within the framework of what they packed in the suitcases they have with them. Schley: I remember in our first fitting this season, there's this concept that they're sharing clothes amongst them. And Liv was, like, it really should be either Javi or Travis's clothes that she wears. So you'll see that Co-Ed Naked soccer T-shirt go between those two because they have a more similar aesthetic. In the first episode, we did a lot of different costumes for the summer solstice ritual and Van has this amazing storytelling monologue, which you did so beautifully. So there was this Ren Faire kind of poncho with shredded things on it that we fit in our first fitting. And Liv was definitely like, no flowers, let's minimalize this. It's really important to have that give and take to make sure it feels really authentic to that character. I think that it turned out really well. It turned out to be one of my favorite costumes, actually, Kailey Schwerman/Paramount+ with Showtime Hewson: I love it. I remember saying this very much in the world of what the others would be wearing. But with Van, it's Peter Pan, rather than like witch coven. With her gender expression plays a bigger part in her clothes. It felt really good to be wearing a garment like that. How does your process work? Do you sit together down together at the start of the season with the scripts saying, "OK, here's where we're going, so here's what the looks are going to be?" Schley: I wish we had that much time! You guys don't even get the scripts. I get them more ahead of you all do. So I'll give you kind of an idea. Sometimes I show you pictures, if I have them. It's a surprise in that first fitting I think, and I try to have enough there that we can cover ourselves. Hewson: We had a really cool opportunity to have more back and forth this season about what Van is wearing, and the scenes that she has with herself. That was a unique costume opportunity. So that was an instance in which the two of us were emailing back and forth, and I remember sending you a couple of reference images, and we were talking about what would be on the T-shirt. That was a fun new opportunity to get into the nitty gritty of who the character is with clothes. Schley: That was an important scene, because that is the bookend to Van's journey. So it was really important I know for Liv that it had a heroic element to it which it should have, because Van is a hero, by the way, and finding the right thing that felt right to you so you could perform that scene in the way it should be. There is an outline in the writer's mind of what is happening on the show, but it does change, as each season comes to fruition and it's put out in the world. So many times we're working backwards, like we establish certain things in the pilot for your characters, and then we're not really sure what is going to happen leading up to those scenes. It's an interesting puzzle that we're piecing in backwards. And I think that's true in this scenario too, where it's Van's demise — we don't really know what happens between season three and the future. Kailey Schwerman/Paramount+ with Showtime Hewson: Exactly. That outfit on the plane is beautifully out of time at the moment, but we don't know if we'll see it again. We don't know if that's a version of Van that we might get to be reintroduced to later. It's something that I really admire about the work that Marie and the costume team does on this show, that there's all these threads that you establish, and then, because of the parallel timeline nature of the show structurally, there are these images that you need to keep returning to, and things become imbued with significance because of what happens later. You don't necessarily know that pair of shoes is going to be one of the most important things that everybody's staring at for three years. But as you're doing it, you have to keep track of the symbols that we've established and what matters when, and what to draw the audience's attention to. So it's incredibly resourceful what Marie and the team do, and it's impressive. SEE'I was terrified — she has an Oscar for "Million Dollar Baby"': Melanie Lynskey on her epic 'Yellowjackets' fight with Hilary Swank How do you track all of that? Is it situation on your office walls? Schley: It is! In the pilot, it was in the script that the camera pans up to a pair of shoes at the edge of the pit. So we knew those shoes were going to tell a lot. And then, of course, because they were focused on they became very much a symbol. But we never knew who was going to be wearing them. That's why we also came up with the idea that people were going to be sharing. It wasn't just because it makes sense story-wise, but also for us, we had to move the shoes around, because we just didn't know where they were going to end up. Hewson: There were a couple of moments you had flagged things that needed to be seen on certain people just before we got to the end of this season, like this sweater. I remember you saying to me, we need to see you in this at least once, because it becomes the mask that Van is wearing in the hunt from the pilot. Schley: It's also what gives birth to a lot of ideas. For instance, that sweater, it was a mask. So we actually made the mask before we ever made the sweater, and then we made multiples of that sweater so that the audience would see it evolve. Ben wears a baseball cap, and then we made that into a mask for Shauna. When you have those limitations, it springs new ideas. In our first fitting, we were using blankets that had survived the fire. And I was like, we can use these as clothing. I gave them to Liv, and Liv draped them in a very particular way around their body. And I was like, Oh, that looks very cool. And you were like, that seems like how Van would do it. It was across the body with the belt. And then that became what all the Yellowjackets wore in the trial, it kind of distinguished those who were the lawyers. Hewson: And that's a fun game, too, as an actor, to have these fabrics that your character has snuck out of a burning building, and then looking at them and being like, well, what would I do with this? SEE Liv, how rare is that for you as a performer to be able to get that opportunity to inject yourself into your character and your character's wardrobe? Hewson: I definitely count myself very lucky to be having that experience on this show. I'm very passionate about the work that I do and I see the work that I do as a part of a larger puzzle. And I know that clothing, especially for a show like this, where clothing is so loaded and significant is a big part of that. Schley: My question for you, Liv, is where there's a specific piece of clothing in that first fitting, whether it's a motorcycle boot or a dangling earring, all of a sudden, there's a turning point where the actor's like, "Oh, OK, this is my character. Now I'm vibing with it. I'm feeling it, it's coming to life." Was there any kind of thing like that for you? Hewson: I think there always is. I hear so many actors describe a version of that with characters that they play, and I think that's really part of the alchemy of the magic of costuming, is being able to watch a person come together in the work that you do. I know with Van a big part of clicking it in was the slouchy, '90s, androgynous, masculine, leaning silhouettes. The other things that come into play when I'm thinking about a character and clothes are things like class and bodily comfort and background, how this person might be presenting themselves to others, versus how they might see themselves. Is this an anxious person who is going to be using fabric to hide and shrink into or is this someone who's really out? Clothing in that way can inform how you stand, it can inform how you face the world or shrink away from the world, and sometimes, as an actor, you're not conscious of those things until you get dressed completely. I think with Van, it ended up really being the shoes, because she's in this one pair of shoes the whole time, until you see her in the pink Converse a couple of times before the final hunt. Because in real life, people have their comfort objects or their pieces of clothing that make them feel like themselves. And characters have that, too. How do you balance that all with Van's look in present day for Lauren Ambrose? Hewson: How she appears is informative for my journey with this character going forward. As we see these characters age and dress differently, there's a real point A and point B aesthetically as well as within the story. It's like, OK, now we've got to build me towards that. Schley: Adult Van really does have a lot of '90s references in their clothing. But it's such a different context for the adult storyline, because different things are happening. They're not stuck in the woods. Van is living with Taissa with a limited amount of clothing, and also Taissa's maybe buying some things for them. But it's always been an interesting challenge trying to link the two different actors who are totally different people without being really heavy-handed. We were going for classic American kind of thing for both versions, iconic silhouettes during that moment, because it's a surreal scene about dying. Anything you can tease about what's to come come for next season? Hewson: There's definitely a lot of ground to cover in between the point in time that our versions of these characters are at versus where they are in the present. I have always been really curious about that kind of unknown, blank window of time. And I think, like all of us, are excited at the possibility of wearing clean things one day. Schley: That'll be a whole new show. Is there one piece of clothing you're going to take from the set when all is done? Hewson: I do have a couple of pieces, actually, because, for the outfit that I end up wearing in the scene between Lauren and I on the plane, I actually went shopping for some jewelry for Van, a silver chain and a couple of delightfully gay rings, because I was, like, because Lauren wears so many rings as Van, I need to have a little nod to that. Schley: You're going to be so sick of all those clothes you're going to want to burn them! 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"It was very similar in the way that we kind of embraced each other off-screen and tried to build the fibers between the cast as quickly as we could," Luna told Gold Derby. "There were instances where people had kind of just met each other and were thrown into pretty intense subject matter." And considering what happens in Season 2, "pretty intense" might be putting it lightly. The Last of Us Five years have passed since the events of Season 1's finale, in which Pedro Pascal's Joel murdered a hospital full of resistance fighters in order to save the life of his surrogate daughter, Ellie (Bella Ramsey). The duo are now living in Jackson, with Joel's brother Tommy, played by Luna. Tommy has spent the past half decade years growing his family, nuclear and otherwise. He and his wife, Maria (Rutina Wesley), now have a young son, and they're leaders within the community of Jackson, which has grown to resemble something like the world before the Cordyceps. For Luna, returning to the world of The Last of Us for the second season meant expanding his off-screen family as well, welcoming in new cast members like Isabela Merced, Kaitlyn Dever, and Young Mazino and doing his best to foster the same camaraderie on set that made Season 1 such a special shoot. "Pedro and myself, Rutina, and Bella were kind of the elder statesman," Luna said. "We were trying to maintain the culture of the show, which is one of love, of real love. And that sounds kind of cliché, but it's, it's really true in this case." But soon the concerns of production were shifting from whether the costars got along to whether Luna could properly handle a flamethrower. The season's biggest set piece, in which hundreds of infected descend upon Jackson, involves Tommy facing down a massive bloater one-on-one, and Luna got to operate the fire-powered weapon himself on set — with less training than you might expect. "They give you a three-minute tutorial," Luna said with a laugh. "That's it a couple of days before you go on." The massive scale of the action in that episode is balanced with drama elsewhere that was painfully personal. Joel's brutal death at the hands of Dever's Abby defines the trajectory of the story that follows, sending Ellie off on a quest for revenge that takes her and Dina (Merced) all the way to Seattle. But when the action picks back up on Episode 3, the focus is on Tommy, now a grieving brother, as he prepares Joel's body for burial. The scene, for Luna, had greater implications for the show that went beyond the story. "It was kind of a farewell to the great leader," Luna said. "The great leadership that Pedro gave, and a transition into Bella's tenure, and myself and everyone else and Kaitlyn, who were going to continue telling the story. Yeah, I kind of let it all go in that moment." The scene was such an integral one that Luna had a unique request. Since Joel remains beneath a sheet during the sequence, Pascal's double, Philippe, laid on the slab for filming. And when production asked Luna whether it would help to have the actor opposite him in full, bloody makeup, he took them up on the offer — unfortunately for Philippe. "I apologized for having them put him in full makeup," Luna said with a laugh. "I'd have to lift that shroud and see his face, and I wanted something to to obviously engage with and react to, and [Philippe] was kind enough to go through several hours of prosthetic makeup to do the full look. And, but it all ended up being really effective for me and hopefully for the piece itself." And while Ellie's quest for Abby takes the action away from Jackson, Tommy eventually catches up with her, just in time to land at the center of the season's climactic cliffhanger. Held at gunpoint by Abby, the fate of Tommy and Ellie are left in the balance until Season 3. But Luna is excited for viewers to learn more about what his character was up to when the series' point of view shifts to Abby and winds the clock back two days. "What's special about the game and the perspective shift that occurs is that your heroes in one viewpoint are someone else's boogeyman," Luna said. "And I look forward to being that — if we do, in fact, handle that story that way. It's an opportunity to really show somebody who returns to their base instincts and the most destructive aspects of their nature and someone who gives in to the fury that that kind of grief sparks." Best of GoldDerby TV Hall of Fame: Top 50 best choices who should be inducted next Carrie Preston on fencing with Matthew Broderick and the heart, humor, and growth of 'Elsbeth': 'She's more than just quirky' 'RuPaul's Drag Race': Onya Nurve and Jewels Sparkles dish their 'ride of a lifetime,' stolen jokes, and turning drag 'inside out' Click here to read the full article.
