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Brady Corbet's A24 Oscar Winner ‘The Brutalist' Sets Max Premiere Date

Brady Corbet's A24 Oscar Winner ‘The Brutalist' Sets Max Premiere Date

Yahoo14-04-2025

A24's post-WWII epic The Brutalist is set to make its streaming debut on Max on Friday, May 16, debuting on HBO linear on at 8 p.m. ET Saturday, May 17.
The film hits streaming following a highly successful awards season culminating at the Oscars, where it won multiple awards, including Best Actor for lead Adrien Brody, Best Original Score for Daniel Blumberg and Best Cinematography for Lol Crawley.
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Co-written and directed by Brady Corbet (Vox Lux), The Brutalist centers on László Toth (Brody), a visionary architect escaping post-war Europe, who arrives in America to rebuild his life, his work and his marriage to his wife Erzsébet (Academy Award nominee Felicity Jones) after being forced apart during wartime by shifting borders and regimes. On his own in a strange new country, László settles in Pennsylvania, where the wealthy and prominent industrialist Harrison Lee Van Buren (Guy Pearce, also Oscar-nominated) recognizes his talent for building. But power and legacy come at a heavy cost.
Corbet wrote the script with wife and creative partner Mona Fastvold and produced alongside Trevor Matthews, Nick Gordon, Brian Young, Andrew Morrison, Andrew Lauren and D.J. Gugenheim. Pic's cast also includes Joe Alwyn, Raffey Cassidy, Stacy Martin, Emma Laird, Isaach de Bankolé, and Alessandro Nivola.
A24 acquired U.S. rights to The Brutalist in a competitive situation following its premiere at the Venice Film Festival, where Corbet won the Silver Lion. The film was released in U.S. theaters last December and has proved to be Corbet's most commercially successful title at a worldwide gross exceeding $49 million.
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Billy Williams, Oscar-winning British cinematographer whose credits included Gandhi and Women in Love
Billy Williams, Oscar-winning British cinematographer whose credits included Gandhi and Women in Love

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Billy Williams, Oscar-winning British cinematographer whose credits included Gandhi and Women in Love

Billy Williams, who has died aged 95, was one of the leading British cinematographers across four decades, winning an Oscar for his work on Richard Attenborough's Gandhi (1982). Exactly a year earlier he had missed out by a hair's breadth on scooping an Academy Award for the autumnal geriatric drama On Golden Pond (1981), starring Henry and Jane Fonda and Katharine Hepburn. But in April 1983 Williams received the gold statuette – shared with Ronnie Taylor – as one of the eight Oscars garnered by that epic film. It was the culmination of a long and often painful collaboration that for Williams had begun three years earlier when, in a short telegram reply to Attenborough's request for him to join the creative team on Gandhi, he wrote: 'Dear Dickie. Yes. Love Billy.' Williams enjoyed telling the a story of informing Katharine Hepburn that 'Richard Attenborough would like me to shoot Gandhi for him,' to which the actress replied: 'I think he's already dead, Billy.' The production, which was shot over six months, was fraught with logistical problems during filming in India – from the endless dust which unless swiftly checked would form like cement on the camera equipment, to problems obtaining official permission to shoot inside various key government buildings. Then, six weeks into filming, Williams slipped a disc and had to fly back to the UK. With his blessing, his duties were handed over to Ronnie Taylor, who had worked as a camera operator on two of Attenborough's earlier films. Taylor filmed for a month before Williams returned – only to suffer another slipped disc a month later, replaced once more by Taylor. By the time the production returned for its final weeks in the UK, Williams had recovered and completed the film, which included shooting in Staines Town Hall, doubling for the court house in Ahmedabad where Gandhi's 'Great Trial' had taken place in 1922, and at the Institute of Directors building in Pall Mall for a key interior sequence begun months earlier on the long steps leading up to the old Viceroy's House (now the presidential palace) in New Delhi. Williams had earned his first Oscar nomination a decade earlier for an altogether more intimate drama, Ken Russell's Women in Love (1970), featuring the much talked-about nude wrestling scene between Alan Bates and Oliver Reed. 'Photographically, it was the best opportunity I've ever had in terms of what the script was offering,' Williams recalled. 'It had every kind of challenge. Apart from the usual day and night interiors and exteriors, there was candlelight, snow scenes, dusk and dawn, and that nude wrestling scene. Bates and Reed agreed to be fully nude for one day only, on a closed set. After that they'd only do waist-upwards scenes.' Billy Williams was born on June 3 1929 in Walthamstow, east London. His father, also Billy, was one of Britain's great pioneering cameramen, who shot the surrender of the German Fleet at Scapa Flow, covered the trailblazing Cape Town-to-Cairo truck expedition, and was the first man to film from the summit of Mt Kilimanjaro. When young Billy left school at 14 he was offered a choice of jobs: working in a city brokerage for one of his mother's in-laws, or as an assistant to his father. There was no contest. After working some years for Billy Snr, he broke away and joined British Transport Films, before moving into commercials when all attempts at graduating to features failed. Working on ads with successful film directors like John Schlesinger, Ken Russell and Ted Kotcheff paid off when Williams managed to make it into long-form drama with Russell on the spy thriller The Billion Dollar Brain (1967), the second sequel to The Ipcress File, then on Women in Love. The Schlesinger connection also paid dividends handsomely in 1971 with Sunday Bloody Sunday, a daring – for its day – and intimate drama of homosexual love, which earned Williams one of his four Bafta nominations. Williams continued to shoot films, including the award-winning Western, The Eagle's Wing (1979) and Dreamchild (1985). He retired after Driftwood (1997). During and after his career as a cinematographer, he taught cinematography at workshops in the US, Germany, Ireland and Hungary, and in the UK at the National Film & Television School in Beaconsfield. One of his regular teaching colleagues was another great cinematographer, the Hungarian-American Vilmos Zsigmond. 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Williams's other notable contributions to cinema history included shooting the atmospheric 11-minute opening sequence in Iraq for The Exorcist (1973). Tall and distinguished-looking, he was perhaps unique among cinematographers in appearing front-of-camera in major Hollywood movies – first, as a British vice-consul shot down by Sean Connery's North African Berber tribesmen in John Milius's period adventure The Wind and the Lion (1975), and then as an expert witness in Suspect (1987), Peter Yates's courtroom thriller starring Cher and Liam Neeson. He served as president of the British Society of Cinematographers from 1977 to 1979 and was appointed OBE in 2009. Billy Williams and his wife Anne had four daughters. Billy Williams, born June 3 1929, died May 20 2025 Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.

Patrick Schwarzenegger is glad that viewers' loathing for Saxon on ‘White Lotus' evolved into love
Patrick Schwarzenegger is glad that viewers' loathing for Saxon on ‘White Lotus' evolved into love

CNN

time2 hours ago

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Patrick Schwarzenegger is glad that viewers' loathing for Saxon on ‘White Lotus' evolved into love

Patrick Schwarzenegger is still coming off the 'whirlwind of emotions' that was the making of 'The White Lotus' Season 3. The actor, who is taking part in a new campaign for Venmo with costar Aimee Lou Wood, spoke to CNN recently about how his perspective has changed since the release of the show, which saw his character Saxon go from loathsome finance bro to a vulnerable young man who realized he has a lot to learn. 'It was definitely a learning experience for me, being on this show,' Schwarzenegger said, adding that the viewership and engaged fandom – famous for its memes and fan theories -– was an experience 'that I've been never been part of.' As for his character – a 'grandiose alpha male that comes in grabbing his crotch and walking around naked,' in Schwarzenegger's words – he acknowledged that there were indeed some parallels between himself and who he portrayed, particularly in how they each were received by the viewing public over the course of the season. 'I think people did not like the character, and what happened was, a lot of people did not know who I was,' he said. '(They would) come up with their preconceived ideas of who I am or how I got the role' based, of course, on his famous last name. As the Mike White-created show went on, viewers learned that there was a lot more to Saxon than met the eye, and it was delivered via Schwarzenegger's capable acting chops – family name notwithstanding. 'It's a mistake to think you know a character that's in a Mike White show on day 1, or on week 2 or week 3,' he shared. Schwarzenegger called the show's creator 'very smart' in how he writes his characters, and 'how they change.' Or don't. 'It was fun for me to watch the hysteria of it all and how it evolved over time,' he said. And while he wasn't surprised that viewers received his character rather coolly at first, he was moved by how much they eventually warmed up to him. 'But I also did not know to what extent people were going to like Saxon,' he said. 'It was a very big roller coaster ride of people despising him to (him) becoming one of the most liked and enjoyed characters by the end, because he had a place to go to.' The same could be said of Schwarzenegger himself, who is slated to appear opposite Al Pacino in the feature 'Billy Knight,' according to his IMDb page. (The project is in post-production with no public release date set). The actor's famous father, however, might have some thoughts on any further on-screen nudity. In their conversation for Variety's 'Actors on Actors,' he once again sounded off on the topic spurred by Saxon's nude scene in the 'White Lotus' season 3 premiere, but this time, in a lovingly embarrassing that way only a father could. 'I'm watching your show, and I'm watching your butt sticking out there, and all of a sudden, I see the weenie,' the elder Schwarzenegger said. His son – and the Internet – howled with laughter. Rollercoaster, indeed.

How this S.F. company's $100 million gamble made ‘Lilo & Stitch' one of Disney's biggest hits
How this S.F. company's $100 million gamble made ‘Lilo & Stitch' one of Disney's biggest hits

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How this S.F. company's $100 million gamble made ‘Lilo & Stitch' one of Disney's biggest hits

There's an old Hollywood adage, attributed to comedian W.C. Fields, that advises filmmakers and actors never to work with children or animals. Good thing the makers of the new live-action ' Lilo & Stitch ' didn't listen to such nonsense. In the less than two weeks since its release, the Disney film is one of the most beloved of the year, pulling in more than $600 million at the global box office. It is already the second-biggest Hollywood release of 2025, and has a good shot at supplanting ' A Minecraft Movie ' ($947 million) as the top earner. Obviously, one of the reasons it has become one of Disney's most successful live-action remakes is audiences' warm memories of the 2002 animated film. But a major factor is the undeniable chemistry between 6-year-old Maia Kealoha, who plays Lilo, and the beautifully realized 2025 version of Stitich, the tiny irrepressible alien who lands in Hawaii and becomes Lilo's chaotic companion. The secret to developing that relationship was spearheaded by Industrial Light & Magic, based at the Presidio in San Francisco. As the visual effects team was grappling with how to turn the 2D animated version into a fully fleshed-out CGI character, a crucial decision was made: to aid the-yet-to-be-cast child actress who would play Lilo, the $100 million production would use animatronic puppets to interact with her and serve as a visual guide for the VFX team. 'They immediately had a bond,' animation supervisor Matthew Shumway said during a recent Chronicle visit to ILM. 'Every day there would be cute moments on the set. It was really important to let (Maia) have a friend on set. It was really cute to see how black (Stitich's) nose was by the end of production; it was pretty rubbed off because she kissed it so much.' Shumway, who filmed test footage with his own 6-year-old daughter before Maia was cast, and visual effects supervisor Craig Hammack turned to Legacy Effects, a Los Angeles company that specializes in animatronic puppets (Grogu of ' The Mandalorian '), to create a series of Stitch puppets, including one suited for underwater scenes. Hayes called the child's performance 'huge.' 'A 6-year-old girl, a lot on her shoulders, and there's only one of her, you know?' Hayes said. 'She nailed the character, and she was very professional, and very impressive.' Hammack, a two-time Oscar nominee as visual effects supervisor on ' Deepwater Horizon ' (2017) and ' Black Panther: Wakanda Forever ' (2022), agreed. 'Maia was phenomenal — very honest, very focused,' he said. 'It didn't feel like (the production) was being tailored to a child in that everything was able to stay on track and very productive for the time we had with her.' Because Lilo first thinks Stitch is a dog, some of the character's movements were dog-like. In those scenes, a French Bulldog named Dale stood in for Stitch in scenes with Maia. The animal 'always gave a little bit of unpredictability,' Hammack noted, which added spontaneity to the film. Somewhere, the ghost of Fields was spinning. Blending live actors with animated characters has been a thing since at least 'Anchors Aweigh,' the 1945 MGM musical in which Gene Kelly famously danced with Jerry the Mouse. The landmark 1988 film 'Who Framed Roger Rabbit' upped the ante. But counterintuitively, because of ILM's cutting-edge technology, 'Lilo & Stitch' was able to deliver something Kelly didn't have: a physical scene partner. 'Our work works because Seth did his job,' Shumway said. 'Without it, we would maybe get a stale performance from Maia. By the time it gets to (the VFX team), we digitally remove (the puppet), but then we've got all the other elements that benefited from the work that he did. Because Maya gave a really good performance, then we can give a really good performance with Stitch. 'So really, it's an old school process, but it's still very modern in how we approach it.'

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