Latest news with #Elio
Geek Tyrant
3 days ago
- Entertainment
- Geek Tyrant
Fun New Trailer For Pixar's Sci-Fi Comedy Adventure Film ELIO — GeekTyrant
Disney has released another trailer for Pixar's sci-fi comedy adventure film Elio , which follows a young boy who is abducted by aliens and is mistaken for the leader of Earth. The movie looks like it'll give audiences a fun moving-going experience. It might just end up being another winner for Pixar. The synopsis reads: 'For centuries, people have called out to the universe looking for answers—in Disney and Pixar's all-new movie Elio , the universe calls back! The original feature film introduces Elio, an underdog with an active imagination who finds himself inadvertently beamed up to the Communiverse, an interplanetary organization with representatives from galaxies far and wide. 'Mistakenly identified as Earth's ambassador to the rest of the universe, and completely unprepared for that kind of pressure, Elio must form new bonds with eccentric alien lifeforms, survive a series of formidable trials and somehow discover who he is truly meant to be.' Yonas Kibreab ( Obi-Won Kenobi ) takes on the role of the young boy, and he's joined by America Ferrera as Olga, his mom. She is described as being 'Super-confident, smart and can hold her own in any situation.' The voice cast also includes Jameela Jamil and Brad Garrett . Elio was directed by Adrian Molina (screenwriter and co-director of Coco ) and produced by Mary Alice Drumm (associate producer of Coco ). It will be released in theaters on March 1, 2024.
Yahoo
3 days ago
- Entertainment
- Yahoo
How Zoe Saldaña helped shape Pixar's upcoming film ‘Elio'
The filmmakers behind Pixar's latest animated movie, Elio, say Zoe Saldaña was the perfect choice to join the voice cast — and they had several reasons why. 'We're grateful to have Zoe joining our project. She's the queen of sci-fi,' says codirector Madeline Sharafian, referring to Saldaña's iconic roles in Avatar, Star Trek, and Guardians of the Galaxy. 'We wanted this film to feel like Pixar's love letter to sci-fi.' More from GoldDerby 'The Pitt' star Supriya Ganesh on Mohan 'reworking' her trauma and when she'll realize Abbot is flirting with her Everything to know about HBO's 'Harry Potter' TV series - including the cast and controversy 'Harry Potter' TV series casts its Harry, Hermione, and Ron On Tuesday, Pixar released a new trailer for the film featuring Saldaña in action as aunt Olga. The film follows an 11-year-old boy (voiced by Yonas Kibreab) who is captivated by space and dreams of being abducted by aliens. After the loss of his parents, he goes to live with his aunt Olga, a highly respected U.S. Air Force major. As Olga adjusts to her new role as guardian, she must navigate the demands of military life while caring for a grieving, imaginative child. 'Zoe brought a lot of military know-how. She's played a lot of strong military characters in the past,' Sharafian tells Gold Derby. 'She was able to bring that balance of warmth when Olga is trying to step into this parental role, but also when Olga is in professional mode and she turns it on — it's a really difficult needle to thread for this character who needs to be a little bit of an unlikeable parent.' Sharafian adds that Saldaña, who won an Oscar earlier this year for her role in Emilia Pérez, added a performance that was essential in grounding the character with emotional realism. 'She did such a gorgeous job of giving Olga vulnerability,' says Sharafian. 'Underneath everything you can tell there is love for Elio — even if she is having these arguments. I don't think we would be successful without her.' Pixar Codirector Domee Shi, who previously helmed Pixar's Turning Red also highlighted how Saldaña's cultural background played a pivotal role in shaping the film's authenticity. 'She has endless range. She can do comedy. She can do drama. She's also incredibly smart and thoughtful,' Shi tells Gold Derby. 'We leaned on her a lot in flushing out Olga's Dominican background. Lines and expression — she was able to add an authentic Dominican flavor to it that just made Olga feel more real. I am so grateful for that.' The filmmakers' commitment to authenticity extended beyond dialogue. Saldaña collaborated closely with the creative team to add personal touches to Olga's world—details that reflect the characters' multicultural roots. 'Elio [has] both Dominican and Mexican side represented in the [his] house,' Sharafian says. 'There's a moment in the film where Olga hears a song on the radio that she really likes, and we did ask Zoe for input on that — like, which Dominican song would Olga like, would you like? There is a moment in the film where Olga says, 'Oh, I love that song.' And Zoe really does love that song.' Elio hits theaters June 20. Best of GoldDerby Marilyn Monroe movies: 15 greatest films ranked worst to best Clint Eastwood movies: 20 greatest films ranked worst to best Morgan Freeman movies: 15 greatest films ranked worst to best Click here to read the full article.
Yahoo
3 days ago
- Entertainment
- Yahoo
How designer Marg Horwell transforms Sarah Snook in ‘The Picture of Dorian Gray' through quick costume changes (exclusive images)
"She had a lot of physical offers, which is so great as a designer to be able to respond to," Marg Horwell tells Gold Derby about working with Sarah Snook on The Picture of Dorian Gray. Horwell is the costume designer and scenic designer of the hit play, and impressively, received two Tony nominations for her work — one for each discipline. Snook portrays all 26 characters in this iteration of Oscar Wilde's classic tale of obsession and vanity. As cameras swirl around the actress, she flits between personas before the audience's eyes. Horwell's visuals become an essential tool, not only in delineating each figure in the story, but detailing Dorian's descent. In our recent interview, the designer discusses allowing the audiences to witness the magic of Snook's many quick changes. "I think it's about making the best version of seeing something you're not meant to see," says Horwell. More from GoldDerby 'The Last of Us' director Kate Herron on bringing the Ellie and Dina relationship to the show: 'It was a privilege' 'Sunset Boulevard': Will Andrew Lloyd Webber break a 30-year Tony drought? How Zoe Saldaña helped shape Pixar's upcoming film 'Elio' Photo by Marg Horwell Sarah Snook is playing 26 different roles in this play. She constantly switches back and forth in a scene, and sometimes acts opposite filmed versions of herself. With such a vast array of characters, where was your starting point for the costumes? Marg Horwell: We built it like building blocks a bit, so it felt less enormous when we first started out. Kip [Williams] was writing the adaptation while we were designing, it was kind of moving at the same time. So when we would hit points where there were many, many characters, we would be handpicking who the most prominent characters would be. So he was crafting that as we were going along. It feels like a gradual thing now, but I guess we started with who she would be on stage and how that would move, and then furnished around her with everybody else. I think the biggest scene, she's opposite six versions of herself. So yeah, they're big. Only doing one character at a time, they do feel quite intimate and small, but actually when you see them all together, it does feel like a very big scene. Photo by Marg Horwell The costuming is essential for delineating characters. Especially since Snook completes most costume changes in front of the audience. How did you craft outfits that can do a rapid quick change on stage? I think the key to how it works in the production is that it starts very simple. Sarah changes her voice and looks at a different camera and then adds small props. She's smoking when she's Lord Henry, she's holding a paintbrush when she's Basil. It's a conversation between two people and it's just that subtle shift of her posture and her voice. And it's a tiny bit of design where actually you do start to hear them before you see them, and then we build them gradually. We do meet Lord Henry on camera first and see him fully dressed and imagined as a filmed character, and then we build him live on stage. So it's to me, the most thrilling thing because it's exposing the theatrical devices that you don't ever really get to see. It's the things we usually hide. So you have cameras circling Sarah, so she can always be speaking, nothing goes over her head. Things have to attach at the back. Facial hair goes on in between words. Wigs, you get one shot at because the microphone has to still work without getting bumped by anybody. So it works like more choreography. It ends up being a team of people learning a dance, learning how to communicate really well with each other, and it lands with music, so it feels very satisfying when you watch it. Photo by Marg Horwell The production takes visual cues from different time periods. How did the elements of past and present come together for you? It's something that I'm really interested in a lot of my work. If we're making work now, and we're not trying to make a museum piece or a true historically accurate piece, then it is something that should draw on all aspects, including things that are relevant now. This piece especially, because it is about someone who doesn't age and someone who in our production starts in the late 1800s, and we never really say where we end. I think as more contemporary influences enter the production, that means that I have license to draw from anything from the last hundred years of fashion or any kind of prominent, especially androgynous or queer figures from history. I love historical fashion, but I love looking at all kinds of influences. There are lots of great new romantics influences, a lot of androgynous fashion and musicians from late '80s and early '90s who were really pushing the envelope and starting to experiment with who they were publicly. It's a pretty subversive, exciting, experimental time. So that's all packed into that story for me in a great way. I think that really speaks to the journey of someone who has no consequences and can try anything and then falls in love with excess. Photo by Marg Horwell Dorian's white, Ziggy Stardust-esque jacket feels like a prime example of that androgyny. Flowers bloom from the sleeves, and those flowers become a major motif in your scenic design. What inspired that choice? I think it's the second chapter in the book, where Oscar Wilde describes a garden. He has written these whole chapters where he will describe fabric for paragraphs and paragraphs, or jewels and how they might glint in the sun. And this garden is so beautifully described. I love artificial things on stage. We know it's theater, we know it's something pretending to be real, and in a story like this that lends itself to artifice and manufactured identity very well. So I like that there's fake flowers all the way through, and I like that they are almost improbable in the way that they present themselves. So we start very simply with one flower and then that motif starts to take over. It starts to grow out of the set, starts to grow out of the furniture, and eventually is growing out of Dorian's costume and up around his neck. I think there's also something about when flowers start to turn, and there's something so cloying and overwhelming about that when they're so perfumed and heady that it's almost about to tip over into being horrible. Dorian gets to a point where he is absolutely suffocated by his own excess and his own greed. In that country house scene, there's a lot of floral things, that from a distance look like big floral arrangements, but there's lots of junk in there as well. There's stuff from a party shop, there's lots of silly plastic fruit and fake burgers. A zombie hand is my favorite thing. It's at the top of one and it's a zombie hand that lights up. It's this full, cheap capitalist explosion that you just get glimpses of on camera. That's when it's at its peak. It travels the whole way through the show, through the set and the costume. And I think it's something that is a great thing that can evolve with character and then go from being very beautiful to being actually quite disconcerting and gross. That traveling motif really aids in the concept of Dorian Gray being this myth or fable. Yeah, I think that's right. It really is a fable at some point or a kind of mythology. Even within the story of someone with a reputation that is incredibly positive and then can become quite sordid and notorious. Just the way that can turn. You're now a two-time Tony nominee. It's rare to receive two nominations for the same show. What are you most looking forward to at the Tony Awards? It's a huge honor. It's kind of otherworldly. Like something you wish for or imagine could happen, and never actually really believed that it would happen. I'm in Australia at the moment and we're flying over for the ceremony. There's something about the Broadway community over there that is just something that I've never experienced before. I have felt really welcomed and just so thrilled to be part of it. The way that this city celebrates this industry is a very rare and incredibly special thing. So I feel like being in Radio City ... being there with everyone who's made work this year is the most exciting thing. All of those people who, you've seen them in shows, they have seen your show, and there is actually a really genuine dialogue happening with that community. It's remarkable to experience for the first time. That's what I'm most excited about … and probably really great snacks! This interview has been edited for length and clarity. SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby Who Needs a Tony to Reach EGOT? Sadie Sink on her character's 'emotional rage' in 'John Proctor Is the Villain' and her reaction to 'Stranger Things: The First Shadow' 'It should be illegal how much fun I'm having': Lea Salonga on playing Mrs. Lovett and more in 'Stephen Sondheim's Old Friends' Click here to read the full article.
The Verge
3 days ago
- Entertainment
- The Verge
Pixar's Elio has a gorilla fight question of his own.
Charles Pulliam-Moore is a reporter focusing on film, TV, and pop culture. Before The Verge, he wrote about comic books, labor, race, and more at io9 and Gizmodo for almost five years. While you may have forgotten that Elio is hitting theaters next month, the film's latest trailer makes it seem like Pixar has been listening to the ridiculous 100 men vs 1. gorilla hypothetical fight people have been debating about for the past few weeks.
UPI
3 days ago
- Entertainment
- UPI
Watch: A young boy races to save the galaxy in final 'Elio' trailer
May 27 (UPI) -- Disney and Pixar released a final trailer for Elio, an upcoming animated adventure about a young boy who finds himself at the center of an intergalactic conflict. The trailer, released Tuesday, features Elio, a space-obsessed 11-year-old, being sent to camp by his overwhelmed mother after being caught skipping school. Elio is abducted by aliens and soon finds himself mistaken for Earth's leader among the Communiverse, an interplanetary organization. The boy finds himself in over his head when he volunteers to negotiate on behalf of the Communiverse in a conflict with a dangerous alien warlord. "Elio must form new bonds with eccentric alien lifeforms, navigate a crisis of intergalactic proportions, and somehow discover who and where he is truly meant to be," the film's official synopsis reads. The voice cast includes Yonas Kibreab, Remy Edgerly, Zoe Saldana, Brad Garrett, Jameela Jamil and Shirley Henderson. Elio releases in theaters June 20.
