Latest news with #EvanGoldberg
Toronto Star
24-05-2025
- Entertainment
- Toronto Star
Seth Rogen's brilliant comedy series, an alt-country gem and a charming standup: what the Star's Culture team recommends this week
TV: 'The Studio' Rarely has a comedy series been this nerve-wracking. 'The Studio,' Seth Rogen and Evan Goldberg's hilarious, very inside send-up of Hollywood moviemaking is all the more striking for its long takes and constantly moving camera, which bring anxiety to even the quietest of scenes (and there aren't many of those, as this show is pitched extremely high). Highlights include the casting of a Kool-Aid movie and Bryan Cranston's delirious homage to Terry Kiser's greatest role. Apple TV Plus just released the season finale, so time for a binge. —Doug Brod
Geek Tyrant
22-05-2025
- Entertainment
- Geek Tyrant
Zoë Kravitz on Playing a "More Psychotic" Version of Herself in THE STUDIO - "If You Can't Make Fun of Yourself, I Think There's Something Wrong" — GeekTyrant
Zoë Kravitz has played her unhinged alter ego in the series The Studio for a few fun guest appearances. She fondly describes the character as a 'more psychotic' version of herself, and she talked about playing this 'Zoë' in a recent interview with Deadline, where she talked about first being approached for the blisteringly funny satire via a call from her agent. 'I hadn't read anything, and I also didn't even really know how many guest spots they were planning on having and who they were going to get. It was just really about loving the thing they were wanting to explore in terms of filmmaking and the industry and where we're at right now. And I thought it was really thought-provoking.' A self-described 'huge fan' of Seth Rogen and Evan Goldberg's — who co-created the inside-baseball Hollywood series alongside Peter Huyck, Alex Gregory and Frida Perez — Kravitz was eager to take the meeting; she first appeared as an alternate of herself slyly campaigning for a Golden Globe despite a shallow veneer of humility, with impeccable line readings like, 'I'm already rich, I'm already famous, winning awards is like the only thing that's left,' and an awards speech template so meticulously choreographed that it borders on terrifying. After that, Rogen and Goldberg were just as keen to continue collaboration, rewriting the final two scripts to add her character in after working with her. 'She's so funny, she's incredible,' Rogen told Deadline in an earlier interview, adding, 'And everybody was so relieved when I sobbed like twice, which came out after we shot the episode, and it was really good, and I was like, 'Oh thank God, the whole episode makes a little more sense now.'' Given the show's long shots, everything is filmed fairly 'by the book,' Kravitz said, though there's a 'lot of conversation' before the camera begins rolling and she praised the longtime Point Grey Pictures producers for being 'incredibly collaborative' and holding steadfast to a 'super clear' vision. Kravitz went on to say: 'I would like to believe that I'm not this person that, like, desperately wants an award. But there is this really interesting thing, where, obviously, if you're campaigning for an award, in order to even kind of be nominated, you do have to participate a certain amount, which means it's something that you want, which is OK, but it's funny how people do pretend like they don't care at all when you do have to care a certain amount to even be considered. 'So I think that kind of humble game that we like to play — of course, there's elements of all of us that want to win, that want to be the best and so while I do think I was channeling hopefully a person that is a little bit more psychotic than I am, I do think that we all have parts of us that do want to win and are embarrassed to let that part be seen. And I thought it was a cool thing to really play both sides of that.' Kravitz was thrilled to return for Episodes 9 and 10, which see her buttoned-up A-Lister succumb to a truly ungodly grammage of psilocybin mushrooms thanks to Remick's ill-fated party platter of assorted drugs. The chaotic finale follows a deeply inebriated Kravitz (and Dave Franco and Bryan Cranston's Continental CEO Griffin Mill) as she is coddled and cajoled into sobering up enough to pull off an onstage presentation to tease her forthcoming 'Black Wing' project. 'Especially after knowing what you know about this version of Zoë, who's kind of a control freak in a lot of ways, it was really cool to be able to put her in a situation where she's completely out of control,' the Caught Stealing star explained. Minutes before she takes the stage, Kravitz's character is mimicking every word spoken to her and feeling like a 'skin sausage.' Despite this, she miraculously nails her presentation and heads off stage, where she gleefully exclaims, 'I'm going pee-pee,' indicating the evidence on the front of her trousers. When asked if she had any reservations about spoofing herself on screen, Kravitz was adamant: 'Oh, no. If you can't make fun of yourself, I think there's something wrong. And so I was really excited to make fun of myself, or the idea of myself, and the awards cycle, and all of that. I think it's something to laugh at and to explore — it's not just pointing and laughing.' The reason it works, Kravitz maintained, is because the lampooning of the industry — which can feel like 'the center of the universe' — is 'really done through the lens of people who love film. And so I think that is the part that you also really feel, is that this isn't just making fun of something, this is making fun of the complications around something that we all care for so deeply.' The Studio is now renewed for Season 2, and Kravitz hopes to get back into the shenanigans next year. She said of her hopeful return: 'Oh, my God, not only would I be open, but I would be very disappointed if I didn't get to [come back]. I have always really wanted to do more comedy. It's something that I really like and something that I want to get better at. I like comedy, I'm a pretty ridiculous person, so it's fun to be able to play in that space … comedy is so hard, and I think people forget that because the whole point is to make it look easy.' The season 1 finale of The Studio has now been released, and all episodes are available on Apple TV+. via: Deadline
Yahoo
10-05-2025
- Entertainment
- Yahoo
One-take wonders: How ‘The Studio', ‘Adolescence,' ‘The Pitt' created movie-like magic
Once an occasional big-screen feat steered by the legendary likes of Alfred Hitchcock, Orson Welles, and Paul Thomas Anderson, long takes — aka one-shots or 'oners' — are now a staple of prestige episodic TV. From The Bear to True Detective and Mr. Robot, TV producers have been increasingly employing the cinematic technique in service of their small-screen stories, elevating their image and awards potential through dexterously choreographed shots that require a great deal of skill and set-wide coordination. This season, take Apple TV+'s The Studio from creators Seth Rogen and Evan Goldberg. With episodes shot by one camera in continuous takes (one of them, guest-starring Oscar winner Sarah Polley, is even titled "The Oner"), Rogen and Goldberg's Hollywood satire navigates the all-too-real trials and tribulations of a fictional movie studio's executives with breathtaking pace, maintained expertly by cinematographer Adam Newport-Berra. 'It takes a really committed team of people. There are no shortcuts,' Newport-Berra (whose credits also include Euphoria and The Bear) tells Gold Derby. 'At first, it really intimidated some of the actors and crew. But once we started to get takes that worked, everyone latched onto it.' With most of the crew coming from a cinematic background, the team pulled references from films that they loved (Newport-Berra especially gushes about the 1957 Soviet movie The Cranes Are Flying by Mikhail Kalatozov). 'Seth and Evan are film nerds. I'm a film nerd. All my crew are film nerds," he says. "We all love television, but film is why we got into this. And that's the spirit of the show: fewer cameras, less coverage, more character driven, and very intentional.' More from GoldDerby It's Charlie Cox vs. Vincent D'Onofrio in dueling 'Daredevil: Born Again' Emmy bids: Complete list of acting submissions for Marvel series Darth Maul animated series coming to Disney+ and more of today's top stories 'Boop! The Musical' and 'Smash' writer Bob Martin on bringing 2 iconic women to life through humor: 'Comedy is always rooted in pain' SEESeth Rogen explains how 'The Studio' pulled off its one-shot episode Throughout, Newport-Berra kept a close eye on the rhythm and necessity of the one takes, making sure they were never landing as a gimmick. 'I didn't want to feel like it was ever holding the show back,' he explains. 'And they work well because they induce a level of anxiety, momentum and energy that we relate to as filmmakers.' Of course, a good oner had to start at the script level. 'Seth and Evan are very good at writing for that visual approach,' he says. 'That really helped us pull it off.' In planning the shots, the crew would arrive early in the morning with Rogen and Goldberg, do a walk-through, and toss ideas around in terms of creative blocking opportunities and interesting angles. Then they'd go over everything with the cast. 'Practice and and rehearse. And then at a certain point, we would start filming it with an iPad [as a trial].' Episode 2 ("The Oner") was an especially exciting challenge, with the one-take style of the episode mirroring the scene that Polley, playing herself, shoots within the story. But an equally unforgettable experience was shooting an episode with Martin Scorsese, the filmmaker who pulled off one of film history's most iconic continuous takes: the Copacabana shot in Goodfellas. 'He was a dream to work with,' Newport-Berra remembers. 'The second he walked on set, he started telling stories about his film career. It was really beautiful. He radiates a really positive energy and was really excited to be on set. He's the model of what a filmmaker should be.' Still, the team was understandably anxious to shoot with one of the greatest directors alive, especially because they didn't quite have the time to explain their visual approach to Scorsese before he showed up on set to play himself. 'We were basically just going to dump it on him when he got there: 'Hey, we're shooting all your scenes all in one take, with one camera.'' To be on the safe side, Rogen had a second camera on standby that day. 'Seth was like, 'I don't want to be the guy who pisses off Scorsese,'' he laughs. 'But Scorsese was like, 'Great, let's do it. I love it.' So that second camera never saw the light of day, and we were able to maintain the integrity of the show.' For Netflix's ambitious four-episode limited series Adolescence — a psychological crime drama created by Jack Thorne and Stephen Graham — the chief concern DP Matthew Lewis had early on was how to make the show's continuous takes (each episode is its own oner) a key part of its storytelling, without allowing the technical achievement aspect of it overshadow the camera's purpose. Luckily, he was no stranger to long takes, having shot Boiling Point with director Philip Barantini (also of Adolescence). 'What we learned from Boiling Point was that there's a very grounded version of a one-shot that is very character focused,' Lewis explains to Gold Derby. 'So here, I knew that the one shots should echo the emotion and the performance of a scene directly. I didn't want flamboyance or crazy moves to get in the way.' SEE'It's saving lives': 'Adolescence' stars Stephen Graham and Owen Cooper on the series' stunning success With that spirit, Lewis stuck with his understated style, aiming to avoid 'the feeling of a camera operator there' as much as possible in following the crime-drama's key characters: a young boy accused of the murder, his family, and various other legal and law enforcement players, likening the experience to doing a play. An especially challenging scene for Lewis was Episode 3 — mostly shot in one room, with the film's young suspect Jamie (Owen Cooper) meeting with a psychologist (Erin Doherty). 'It was really challenging creatively because of how precise it had to be so you don't feel the camera,' he says. 'If I'm moving down a corridor but not framed up perfectly, there is a certain energy, and you can hide errors in that,' he explains. 'But any imperfection here would've thrown you completely out of it.' Ultimately, his approach was respecting the energy of the dialogue, thinking himself as a character in the scene who wouldn't just be invasively walking around the two. 'I'd just look at them for a bit, take it in, and when the awkwardness is gone, then there would be a bit of flow, and I could start to gently float around them. All the compositional decisions were based on how someone was feeling' While its continuous takes are different than Adolescence and The Studio — for starters, they aren't as long — Max's The Pitt, created by R. Scott Gemmill, is no less complex and impressive thanks to the skills of cinematographer Johanna Coelho. Following a group of emergency room doctors in a Pittsburgh hospital's chaotic ER on one especially eventful day — each of the 15 episodes account for a single consecutive hour of the same day — The Pitt takes the audience on a character and event-driven journey, with Coelho's elegant long takes echoing the momentum of the proceedings — heartbreaking, harrowing, often bloody, and altogether compassionate. SEEHow 'The Pitt' created such an immersive medical drama 'The scripts were written in a very immersive way, so we really wanted to have a documentary-like approach,' Coelho says. 'The camera would be like a ghost staff member.' Making it all look as realistic as possible was a priority for the team, making sure the camera and the bright lighting captured the gripping intensity and the unsettling nature of the experience. 'We wanted to be very accurate on skin tones. And our style was handheld to support the documentary-like identity and feeling.' To move freely and uninterrupted within the set, Coelho used a ZeeGee rig. 'It is kind of a Steadicam vest with a Steadicam arm, but it has the handheld feeling to it,' she says. 'That helped us control our movement better to really flow through the story with the characters and feel completely immersed in it realistically.' One of the longest shots she captured in the series was one in Episode 4, following Dr. Robbie (Noah Wyle) and nurse Dana (Katherine LaNasa), a girl taken to the ER due to a fentanyl case, and the family of another patient, her friend. 'It felt right not to cut that scene as Robbie and Dana start walking from the break room [as other things happen]. You are basically stuck with events and the pain of the scene.' Choreographing the actors and blocking was always a challenge of course, but never more so than the series' stunning episodes that revolve around a mass shooting, with the ER overflowing with injured victims admitted in color-coded areas depending on the severity of their condition. 'We normally only have two cameras," she says. "But we brought in a third camera to accommodate the additional characters in the same space at the same time. Keeping track of all the elements happening, following the action and the characters moving and making sure the audience can understand where they are, was probably the hardest thing.' To Coelho, TV has been operating with high cinematic standards for a while now, with artists pushing the idea of what TV can look like. 'For us, the cinematic aspect was having a shallower depth of field to make people feel more trapped in The Pitt," she says. "You follow a character and you keep going with them. You only can see what they see.' The secret, Coelho says, is coordination. "Our actors were excellent, and the background was amazing. Everyone really learned how to choreograph and dance together," she says. 'When things start working together, it's flawless." Best of GoldDerby 'Your Friends and Neighbors' changed how Amanda Peet thought of intimacy coordinators 'Paradise' star Julianne Nicholson on the ruthless Sinatra: 'I love that she's an evil genius, but she's not just an evil genius' All 34 'Black Mirror' episodes ranked, including 'USS Callister: Into Infinity' and 'Eulogy' Click here to read the full article.
Yahoo
10-05-2025
- Entertainment
- Yahoo
Apple TV+ renews Seth Rogen's Hollywood satire ‘The Studio' for Season 2
It's a hit. On Tuesday, Apple TV+ announced that The Studio will return for Season 2. More from GoldDerby Golden Globes add Best Podcast category to 2026 ceremony From courtroom to karaoke, 'Matlock' Season 2 shakes things up: 'Anything's up for grabs at this point' Tonys: 'Buena Vista Social Club' choreographer Justin Peck would be the 5th person to win in consecutive years The acclaimed comedy series and top awards contender wraps up its first season on May 21. 'We're thrilled to be making a second season of The Studio. We're looking forward to taking the lived experience of making Season 1 and immediately putting it into Season 2, then repeating that loop for 10 more seasons,' said creators and executive producers Seth Rogen and Evan Goldberg. 'And, we're excited to keep all our industry friends and colleagues guessing as to when one of their personal stories will stream on Apple TV+.' 'Seth, Evan, the entire creative team and cast of The Studio have knocked it out of the park with this brilliant show, and it has been incredible to watch the conversation grow with each new episode,' said Matt Cherniss, head of programming for Apple TV+, before referencing one of the show's viral gags, a movie based on the flavored drink Kool-Aid. 'We can't wait to see where Matt Remick takes Continental Studios in Season 2, and hope for his sake that the Kool-Aid movie crushes at the box office.' Co-created by Rogen and Goldberg, as well as Peter Huyck and Alex Gregory (Veep) and Frida Perez, The Studio focuses on Matt Remick (Rogen), the newly installed studio boss at the fictitious Continental Studios. The show's first season tracks Matt's ups and downs on the job, including having to tell Martin Scorsese (as himself) that his planned movie about Jonestown was being scrapped. Significant Hollywood filmmakers play themselves in the series, including Scorsese, Sarah Polley, Ron Howard, Zoë Kravitz, Parker Finn, and Olivia Wilde. Rogen leads the regular cast alongside Kathryn Hahn, Ike Barinholtz, Chase Sui Wonders, and Catherine O'Hara. Bryan Cranston is a recurring guest star as the CEO of Continental Studios. The Studio has earned rave reviews since its world premiere at the South by Southwest Film and Television Festival in March. The show is predicted to land several Emmy Award nominations, including Best Comedy, Best Comedy Actor (Rogen), Best Comedy Supporting Actor (Barinholtz), and Best Comedy Supporting Actress (O'Hara). Many other nominations, including guest bids for Scorsese and Polley, are also in play. Rogen has openly talked about his hopes and wishes for a second season. The filmmaker co-directed every episode of Season 1, which utilized unbroken takes to enhance the comedy and anxiety. The show's second episode, 'The Oner,' was presented as one unbroken take for 22 minutes. This week's episode occurs during the Golden Globe Awards and features multiple celebrity cameos, including Jean Smart, Adam Scott, and Netflix boss Ted Sarandos. All episodes of The Studio stream on Apple TV+. Best of GoldDerby MrBeast reveals the machine-gun stunt he had to cut from 'Beast Games,' says he wants to do competition series at least 10 seasons 'What is it that's creepy about Tommy?' Peter Sarsgaard defends his 'Presumed Innocent' character 'The Pitt' star Isa Briones loves the discourse around Dr. Santos: 'I just want people to feel something viscerally' Click here to read the full article.
Yahoo
07-05-2025
- Entertainment
- Yahoo
Apple TV Renews 'The Studio' for Season 2
Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Generate Key Takeaways The Studio has been renewed at Apple TV+. The announcement was made via Twitter on May 6 in a post that read, "Hollywood loves a sequel. #TheStudio will return for Season 2." The tweet was accompanied by a scene from the show. The Seth Rogen comedy has been a favorite among both fans and critics. In the series, Rogen stars as Matt Remick, a film executive hired to run Continental Studios and quickly realizes the job is more than he bargained for. In a statement, Rogen and his partner, Evan Goldberg, shared with The Hollywood Reporter, "We're thrilled to be making a second season of The Studio. We're looking forward to taking the lived experience of making season one and immediately putting it into season two, then repeating that loop for ten more seasons. And, we're excited to keep all our industry friends and colleagues guessing as to when one of their personal stories will stream on Apple TV+.' Matt Cherniss, the head of programming at Apple TV+, added, "Seth, Evan, the entire creative team and cast of The Studio have knocked it out of the park with this brilliant show, and it has been incredible to watch the conversation grow with each new episode. We can't wait to see where Matt Remick takes Continental Studios in season two, and hope for his sake that the Kool-Aid movie crushes at the box office.' One aspect of The Studio that fans hope will continue is the inclusion of real-life film directors in the storyline. Cameo roles on the first season included Martin Scorsese and Ron Howard, Parker Finn (behind Smile), and Olivia Wilde. The Season 1 finale is slated for May 21. Related: Aimee Lou Wood Makes Her Thoughts on Patrick Scharzenegger Very Clear
