Latest news with #TrainDreams'
Yahoo
30-01-2025
- Entertainment
- Yahoo
Sundance Breakout ‘Train Dreams' Acquired by Netflix
'Train Dreams,' a drama starring Joel Edgerton and Felicity Jones, has been acquired by Netflix out of Sundance. Our own review called it a 'patient, profound and painful experience' and compared it to the work of Terrence Malick. The movie, about a logger who is working on the railroad, was co-written and directed by Clint Bentley. Greg Kwedar co-wrote the screenplay with Bentley and the two co-wrote the Oscar-nominated 'Sing Sing.' Kerry Condon, William H. Macy and Clifton Collins Jr. also star. Black Bear and Kamala Films produced the film with Marissa McMahon, Teddy Schwarzman, Will Janowitz, Ashley Schlaifer and Michael Heimler. Edgerton and Kwedar are executive producers with Scott Hinckley and John Friedberg. The 'Train Dreams' deal is one of a precious few that have been made at Sundance 2025, continuing a recent trend of distributors holding back on major bidding wars at the Utah festival amid a time of cost-cutting in the film industry. One of the few other major deals so far has been for the Michael Shanks horror movie 'Together,' which was picked up by Neon. Netflix's deal also comes as the streamer has rolled out its 2025 release slate, which includes fall release dates for Guillermo del Toro's 'Frankenstein,' Noah Baumbach's 'Jay Kelly' starring George Clooney, and Rian Johnson's third 'Knives Out' film, 'Wake Up Dead Man.' WME Independent negotiated the deal for 'Train Dreams.' The post Sundance Breakout 'Train Dreams' Acquired by Netflix appeared first on TheWrap.
Yahoo
30-01-2025
- Entertainment
- Yahoo
‘I Love You Forever' Trailer: Sofia Black-D'Elia Falls for an Abusive Ray Nicholson in Hilarious Yet Poignant Anti-Rom-Com
As rom-coms have a resurgence in Hollywood, the anti-rom-com is on its way. Cue the ingenuous 'I Love You Forever,' which IndieWire can announce has been acquired by Utopia for theatrical distribution after having premiered at the 2024 SXSW Film & TV Festival. It's almost shocking to think that the pitch perfect tone-driven ode to millennial milieu is the directorial debut of co-writers Cazzie David and Elisa Kalani. In contrast, it makes perfect sense that ahead-of-her-time tastemaker Diablo Cody produced it. More from IndieWire Bong Joon Ho to Be Honored by the Academy Museum of Motion Pictures with 'Director's Inspiration' Exhibit Sundance 2025 Films Sold So Far: Netflix Buys Clint Bentley's 'Train Dreams' with Joel Edgerton and Felicity Jones 'Single Drunk Female' breakout star Sofia Black-D'Elia leads the film as law student Mackenzie, who meets the man of her dreams, Finn (Ray Nicholson), at the birthday party of her bestie (writer/director David). However, charming broadcast journalist Finn is soon revealed to be a narcissist, and Mackenzie's perfect love story becomes a harrowing nightmare of living in an abusive relationship in plain sight. Raymond Cham Jr. and Jon Rudnitsky co-star. Co-writers/directors Kalani and David previously co-created the critically acclaimed web-series 'Eighty-Sixed.' David previously told IndieWire that 'I Love You Forever' isn't supposed to be a mainstream feature — rather, the indie was made for those who too have survived narcissistic abuse and been gaslit into doubting themselves. The film was also made to educate others while validating the experience. 'This film is probably not going to resonate with anyone who doesn't have a somewhat personal experience to a relationship like this,' David told IndieWire. 'We're very aware of that. But we just really wanted to make a movie that was a grounded representation of emotional abuse, particularly in an emotionally abusive relationship. People who have been through something like this can hopefully feel seen during such a confusing, isolating experience.' Plus, it is actually very funny, while still balancing the right tone of respectful seriousness during particularly triggering sequences. 'We love comedy, and we also like making things that have some kind of [message] and do mean something. This was a story we felt like we wanted to tell,' David continued. 'We really wanted to make a rom-com for our generation, something that just felt relatable to the dating pool now. While doing both of those things, we kind of came to this realization that a rom-com can also include meeting someone who ends up being toxic. We satirized the love-bombing, and that became our movie.' The IndieWire review compared 'I Love You Forever' to 'Fatal Attraction,' 'Promising Young Woman,' and 'American Pyscho' — at least in terms of Nicholson's turn as Finn. 'With Nicholson's smile that he inherited from his real-life father Jack Nicholson, it all makes the rom-com side of the romantic horror film feel more real,' the review reads. 'Nicholson sells the audience on Finn selling himself to Mackenzie, and it's not that Mackenzie is too blind to see his faults; it's just that Finn is that good of an emotional abuser. […] Just don't call the feature an erotic thriller. No, 'I Love You Forever' unfolds like a documentary to those who have lived a similar experience — and a stalker horror movie to others.' 'I Love You Forever' premieres at the Quad Cinema in New York on February 7 from Utopia, and will be available on digital on Valentine's Day, February 14. Check out the trailer below. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie The 55 Best LGBTQ Movies and TV Shows Streaming on Netflix Right Now
Yahoo
30-01-2025
- Entertainment
- Yahoo
Joel Edgerton on Directing Harrison Ford in New Glenmorangie Whisky Ad Campaign, Getting Him to Wear a Kilt and Embrace Being an ‘Older Dude': ‘Let's Not Try and Hide It' (EXCLUSIVE)
Joel Edgerton has directed two feature films, 'The Gift' and 'Boy Erased,' but he is now making his advertising directorial debut with Glenmorangie Scotch Whisky's new ad campaign starring Harrison Ford. The legendary actor plays himself as he travels to Andross Castle in Scotland to film the campaign. After insisting on not doing any sort of action movie-like stunts, Ford is seen meditating, riding a bike and sipping whisky in front of a cozy fire. At one point, he even slips into a kilt. More from Variety 'Train Dreams' Review: A Landmark Homage to the Unsung Workers of the American West Plays Out Across Forests and Joel Edgerton's Face Tom Blyth on Playing a Closeted Gay Cop in 'Plainclothes' and His 'Intimate, Really Vivid' Sex Scenes With Russell Tovey Russell Tovey Says 'Plainclothes' Co-Star Tom Blyth 'Is Full of Stardust' and Teases 'Doctor Who' Spin-Off 'The War Between the Land and the Sea' Feels 'Like an Indie Film' The campaign, titled 'Once Upon a Time in Scotland' and consisting of several video spots, plays into Ford's reputation of being a bit of a curmudgeon. 'I'd watched a lot of his interviews, and I realized that true or false, there's a persona of Harrison's that is quite gruff and, you know, grumpy, but he's a bit like an avocado,' Edgerton tells me. 'He's rock solid on the outside but he's very soft in the middle. He has an emotional softness and a sensitivity and a humanity that he then covers with this sort of prickly outside.' This Q&A with Edgerton has been edited for length and clarity. What's your favorite Harrison Ford movie? That's very hard. If you ask 12-year-old Joel, it would be 'Indiana Jones.' But as I grew up, I think 'The Fugitive' is one of the most excellent thrillers made of all time. He does the empathetic every man. Weirdly, my other obsession in the '80s were Sylvester Stallone and Arnold Schwarzenegger. But you never thought those guys wouldn't get through the mess. You always assume there's no way they're going to lose but I love that Harrison made us feel like he didn't know the answer. He had to work it out, and I think that's why we all connected with him. I will say Harrison definitely is one of my heroes. There is a photo that exists somewhere of me with a brown, sort of fedora on my head and a brown sort of plastic leather jacket that I found somewhere. And I rubbed dirt on my face to look like stubble. I am aware that you got to be careful about meeting your heroes. I did wonder, 'Is Harrison best left as a hero in my mind?' There's a certain actor in Hollywood who said, 'Never meet your heroes unless they're Harrison Ford' and he was fucking right, man. He was such a legend in person as much as he lives as a legend in my mind. What was it like meeting him for the first time? We had lunch. I was with this gang when he got there. While he was shaking my hand, he said, 'I heard they want me to ride a horse and fly a plane, and I'm not doing any of that.' I felt good because that's exactly what the first spot was going to be about — him going, 'I don't want to do what they want me to do.' We hit it off and by the end of the meeting, he was like, 'I'll do whatever you want me to do.' What was it like telling Harrison Ford to do another take on something? He was awesome. We shot a lot in three days. We shot a lot of material, like 20 to 30 minutes of him doing things. But I was terrified because most campaigns you shoot are a 60-second spot in two days. We were doing four separate stories each day. I thought I was going to have a heart attack before I even got there. But he was often ready before the camera was ready. He would change in a cupboard if he needed to. How many kilts did he try on before you found the right one? We had a beautiful kilt made. When I was younger, I never thought I'd ever have lunch with Harrison so I certainly could never have imagined that one day I'd be working with Harrison Ford and that these words were going to come out of my mouth, 'Harrison, can I get you to wear a kilt?' He seems to have bed head throughout the campaign. Was that on purpose? One of the great things for me is I didn't come from a world of advertising and I've never worked in that world before, I only know about being the receiver of so many ads throughout my entire life. Campaigns are usually about beautification and wish fulfillment, and we often then get actors or celebrities, and we try and age them down or we make them more beautiful. There's an aspect to this campaign that is super subtle, which I think is about embracing who you are and acknowledging your fears, whether you're scared you're not cool enough or you're an older person now and you just want to avoid certain things. I was like, 'Harrison is an older dude. Let's not try and hide it.' And by the way, we didn't have enough time to spend on all that crap. But, yeah, be who you are. We should love everybody for who they are, whatever their age, shape, whether their hair is tussled or not. How much whisky was being consumed while you were shooting? It is important to know your product. We had a couple of amazing tastings with Dr. Bill Lumsden, who creates the whisky. We had a tasting of the full gamut, but we didn't let it get too much in the way of shooting. It is important to relax at the end of the day, and what a great way to do it. They gifted Harrison, myself and all the crew and team special bottles of whisky. I think Harrison got one of the oldest bottles ever — from the year I was born. I have to ask you about voicing Policeman on 'Bluey.' How did that come about? 'Bluey' has been in my life since my niece became obsessed with it, and then, because I'm an actor and I'm Australian, and those guys operate out here, they asked me to do a voice. Now my kids are 'Bluey'-obsessed so it gives me a lot of credibility. But also they hear your voice but they can't quite put it together. I walk around bragging it's me, but they're like, 'No, it's not.' Watch the 60-second Glenmorangie spot below. Best of Variety What's Coming to Netflix in February 2025 New Movies Out Now in Theaters: What to See This Week 'Anora,' 'Nosferatu,' 'Nickel Boys' and More Could Use DGA, PGA and WGA Noms for Big Boosts in Oscar Race
Yahoo
27-01-2025
- Entertainment
- Yahoo
‘The Legend of Ochi' Review: A24's Family-Friendly Fantasy Is a Richly Imagined, Gorgeously Designed Throwback
With theaters flooded over the recent holiday season by animated and CGI-dependent PG-rated fare, it's reassuring to see a family film that relies on live action, impressive production values and inventive story elements, rather than the enhancements provided by digital technology. The Legend of Ochi gives free rein to writer-director Isaiah Saxon's remarkably imaginative narrative and visual palette, leveraging his well-regarded reputation directing music videos for the likes of Bjork and Grizzly Bear for a fantastical tale brimming with adventure and originality. With A24 targeting an April spring break release date, Saxon's debut feature looks poised to capitalize on a recent upswing in family moviegoing. More from The Hollywood Reporter 'Peter Hujar's Day' Review: Ben Whishaw and Rebecca Hall Take an Illuminating Snapshot of a Queer Artist in Ira Sachs' Gorgeous Character Study 'Ricky' Review: A Sensitive Stephan James Steadies Frenetic Debut About Recidivism 'Train Dreams' Review: Joel Edgerton Mines Depth, Beauty and Sadness From an Ordinary Life in Ravishing Contemplation of Man and Nature The film opens with a swooping aerial shot over the mysterious island of Carpathia, secreted somewhere in the broad expanse of the Black Sea. The fictional territory off the coast of Romania sustains a small population of hearty villagers, along with the previously unknown ochi, a primate-like wildlife species with reddish fur, blue facial features and a distinctive musical call. Even though the story is set in 1982, and despite the occasional, jarring appearance of a car or supermarket, the verdant island seems frozen in the 19th century, with its rustic architecture and agricultural customs. For 12-year-old Yuri (Helena Zengel), a quiet, introspective girl, it might as well be the Dark Ages. Life on her father Maxim's (Willem Dafoe) farm offers scant excitement, leaving her free to pursue her fascination with the natural world — although her dad warns her to avoid the ochi, claiming they killed her mom years before. Shooting primarily in Romania's Carpathian Mountains with an emphasis on expansive exteriors, the filmmakers take full advantage of the region's rustic beauty, from soaring peaks to dense woods and treacherous rivers, to conjure the fictional ochi's remote habitat, a domain inhospitable to humans. Though the forest-dwelling ochi don't appear to pose much of a threat to the villagers, they fear and revile the creatures nonetheless. Maxim organizes an armed patrol to hunt and terrorize the ochi, which Yuri reluctantly joins along with her with her adopted older brother Petro (Finn Wolfhard). Out checking his trap lines the next day, she discovers a juvenile that's gotten separated from its mother. Although it's injured after escaping from one of the traps, Yuri manages to bond with the little critter and treat its minor lacerations after smuggling him home in her backpack. But when the ochi's high-pitched vocalizations alert her Petro to her secret, Yuri is forced to flee, promising the ochi that she'll take it back home. The filmmakers devote considerable resources toward making the case that the ochis possess a form of language based on their characteristically musical form of communication. These allusions culminate in one of the narrative's most surprising developments, after Yuri's imitations of the young ochi's peculiar chirps and whistles (based on an obscure vocal technique known as hocketing) help her gradually develop a far more meaningful understanding of the species. Whether Saxon's convictions regarding interspecies communication and wildlife conservation are adequately supported by the script will probably be irrelevant to younger audiences. They're likely to be more captivated by the animatronic ochis, which look like an improbable cross between E.T. and a Gremlin. The animals' handcrafted appearance and reliance on realistic puppetry techniques also link their creative heritage to these two fictional species from '80s family classics. A similar attention to detail extends to many of the artistic elements evident throughout The Legend of Ochi, typical of Saxon's distinctly bespoke aesthetic. The result is a hyperrealistic natural setting bathed in saturated hues, incrementally manipulated with Saxon's matte paintings and other practical effects, with just a modicum of CGI. The ochi puppets in particular provide the actors with tactile counterparts that digital effects can't duplicate. This is particularly critical for Zengel, who earned a Golden Globe nomination for her work opposite Tom Hanks in Paul Greengrass' 2020 Western News of the World, and her interaction with ochi characters throughout much of the movie. She takes these challenges in stride, delivering another absorbing performance by deploying her impressive language skills to open up the world of the ochi for outsiders. Dasha, Yuri's long-absent mother sympathetically portrayed by Emily Watson, is another villager who's awestruck by the ochi. She's completely the opposite of Maxim, a comically inept character whom Dafoe takes on with customarily manic enthusiasm. It's evident that The Legend of Ochi's production values far exceed what might be expected from a reported $10 million budget, and demonstrate that Saxon can deliver a fully realized vision of a highly original concept. Now it's up to audiences to determine whether it's a classic. Best of The Hollywood Reporter Dinosaurs, Zombies and More 'Wicked': The Most Anticipated Movies of 2025 From 'A Complete Unknown' to 'Selena' to 'Ray': 33 Notable Music Biopics 25 Christmas Comedies to Watch This Holiday Season
Los Angeles Times
26-01-2025
- Entertainment
- Los Angeles Times
With strongmen on the march, Jacinda Ardern's new film touts ‘empathetic leadership'
PARK CITY, Utah — Welcome to a special Sundance Daily edition of the Wide Shot, a newsletter about the business of entertainment. Sign up here to get it in your inbox. Good morning! It's Sunday, Jan. 26, and today's forecast is for bright skies after a partly cloudy start, with a high of 27 degrees. Saturday night brought the premiere of one of the festival's most buzzed-about documentaries, 'The Stringer,' which challenges the authorship of one of the most famous war photographs ever produced. And as staff writer Mark Olsen reports, it's not just the Associated Press, which recently concluded its own investigation into the origins of the image, that has a response to the film. 'It's quite upsetting to him personally and emotionally, as one could imagine,' James Hornstein, an attorney for Pulitzer Prize-winning AP photographer Nick Ut, told The Times. 'This is perhaps the most important piece of work that he's done in his life in terms of the acclaim that this photo has brought. And for him to be accused of lying about it, which is what this film does, is devastating.' More on the claims at the heart of 'The Stringer' at the link below, plus our interview with former New Zealand Prime Minister Jacinda Ardern and recommendations for how to spend your day at the fest. READ MORE: Inside a new documentary's provocative allegations about a famed Vietnam War photo 'Bunnylovr' (Redstone Cinemas, 9:30 p.m.) The bunny in Katarina Zhu's debut is ridiculously cute, with eyes so big and black you could tumble into them and never hit bottom. Fittingly, its owner, a lonely twentysomething New York cam girl, spends the movie in free-fall. Rebecca (Zhu) exists to please others, including her selfish ex (Jack Kilmer) and absentee father (Perry Yung). She's a dutiful worker in today's charm economy, where making rent depends on making an online stranger (Austin Amelio) pay $500 to watch Rebecca hold her white rabbit while he unzips his pants. The lost woman's only act of rebellion is that she's late, she's late, for every important date. This year's Sundance is crowded with stories about digital disconnection (hey, maybe their filmmakers should meet up and make friends!) and this poised and darkly funny drama is so far nosing ahead of the pack. Rachel Sennott punches up this lightly autobiographical meta comedy as an artist painting her own off-kilter portrait of Rebecca. As Sennott boasts, 'It's giving deconstruction.' — Amy Nicholson 'Train Dreams' (Eccles Theatre, 9:30 p.m. Tuesday) There is size to 'Train Dreams' — the construction of train tracks, the logging of vast forests, a cinematic sweep that says America is coming — that puts you in mind of 'There Will Be Blood' or 'The Brutalist.' But the film's real magic trick is that even swaddled in that grandeur, the story remains an intimate one, narrated by Will Patton. Credit should partly go to Joel Edgerton, quietly embodying the plot's taciturn central figure, Robert, a laborer who modestly toils and suffers and ends up leading an eventful life. Also let's recognize Denis Johnson's slender yet powerful 2011 novella, one of the author's high points. But ultimately, this is an achievement of pared-down drama-making by co-screenwriters Clint Bentley and Greg Kwedar ('Sing Sing,' 'Jockey') who have a thing for second chances and structures that give actors room to breathe. — Joshua Rothkopf As documentaries go, 'Prime Minister' didn't follow the usual route. Then again, neither has its subject. After all, the film's portrait of former New Zealand Prime Minister Jacinda Ardern, who came to power in 2017, weathered a devastating mass shooting and the COVID-19 crisis, then stepped down in 2023, comes in large part from Ardern herself. This treasure trove of candid interviews, recorded during her tenure as part of an oral history project at the Alexander Turnbull library, and intimate home video footage, filmed by her broadcaster partner Clarke Gayford, left directors Michelle Walshe and Lindsay Utz with a rich vein of source material — and a 17-hour rough cut. Trimmed down to feature length, the result, which premiered at Sundance in the world documentary competition, is an uncommonly revealing portrait of leadership in action, with Ardern opening up about her struggle to breastfeed daughter Neve; passing major gun control legislation; and feeling unmoored by contentious anti-vax protests, among other subjects. Ardern, joined by the filmmakers, stopped by the L.A. Times Studios in Park City on Saturday, where she discussed her style of 'empathetic leadership,' the intensity of higher office and why singular figures like President Trump shouldn't be the focus of our politics. The following is an excerpt from that conversation; watch the full video here. — Matt Brennan You describe yourself in the film as a 'reluctant prime minister.' And we see the taxing nature of the job, specifically in the period that you had the job. What made you want to do something that would put you back in the spotlight? I imagine there must have been some trepidation about it as much as excitement. I always viewed the role of being prime minister as both a privilege, but also a responsibility. And I care a lot about public leadership and I care a lot about putting out into the world that there are alternative leadership styles like empathetic leadership. So after I left office and saw that people started talking a little bit about how empathetic leadership felt unusual to them and they hadn't seen much of it, I wondered whether or not I could play some small part in just re-humanizing leadership and demonstrating that you can be an empathetic leader and you can also do a job successfully. I wanted to talk a little bit about some of the specifics. One is that, in the aftermath of the 2019 Christchurch mosque shooting, you led New Zealand to pass new gun restrictions. In the United States, we have what often seems like an intractable gun control debate and gun violence problem. Based on your experience, would you have any advice for legislators in the U.S. or other countries that have gun violence issues about how to move the ball forward on something that often feels like it's never going to change? I do get asked this question a little bit and I'm very mindful that I can only speak to the New Zealand experience because, you know, that's my home. I understand the history and culture and the context of New Zealand in a way that I never will of any other country. But speaking to that experience, all I know is that in the aftermath of March 15, I felt the public expectation for us to act on what had happened and to do everything we could to prevent it from happening again. And so you saw in the film, [there are] 120 members of Parliament and 119 of them voted in favor for change. And I think that was a reflection of the people we were serving. It was a reflection of where New Zealanders were. I was struck that, when you resigned, you described it as having 'outstayed your welcome.' Or you sort of feared that you had outstayed your welcome. I'm wondering if you think that there is still a possibility of a longer-serving democratic leader, someone like Richard Seddon in the New Zealand context, or FDR or Margaret Thatcher, in an era of the kind of level of scrutiny that you get from social media that we see during the Parliament protests. Just to put the resignation in that wider context, I was thinking about a whole range of issues and one of them was just anticipating the progress that had been made and how to retain that. But the primary [reason] was ultimately whether I had enough to keep doing the job well. I wouldn't describe it as burnout. I described it as having enough in the tank. And I'd known that after five years... You just don't know what's going to come your way. You need to have those reserves, particularly if you do want to lead with care, curiosity and without being defensive. And so all of that weighed on my mind. But you're right to ask that question. Will we as a society [have] those longer periods of leadership when there is such an intensity to leadership now. I don't know whether or not it would be fair to call it additional scrutiny, but certainly from the outside it appears that it may be that way. And that comes back again to my hope in being so open about leadership. With that extra scrutiny, I hope we don't lose sight of the fact that there are still humans doing these jobs in public life. And maybe we need to to just remind ourselves of that — not just for politicians, but people in leadership or who are decision-makers open for scrutiny. I don't know if that means people will last for longer, but I do hope it means that good people still put themselves forward. At this moment of sort of rejection of parties in power and the rise of authoritarianism around the globe and right-wing parties, what do you think is the way forward for progressive and empathetic parties and leadership right now that can also be electorally effective? Perhaps we run the risk of assuming that the things that we're seeking from political leaders are different from the things that we seek from one another. I happen to be in the camp of people that thinks that the values that we value as communities should be the values that we that we seek out in leadership. And so I've always had a very simple mantra: Why should what we teach our children be any different than what we expect from our leaders? And we teach our kids kindness and generosity and bravery and curiosity. So I hope that we don't lose our expectation that we see that in leadership as well, including political leadership. The film contains a scene at a U.N. General Assembly meeting in 2018 where you're asked by the press whether you find Donald Trump likable and you give what I would describe as a very diplomatic answer. Now that you're out of office, would you describe Donald Trump as likable? Would you answer it differently now than you had to when you had to meet with him as heads of state? I wouldn't answer differently. We run the risk of focusing in on individual personalities. And actually we need to ask ourselves what's going on in people's lives and how that's manifesting in democracies around the world. I don't think we should define leadership by singular individuals. We should define leadership by the values that we'd like to see in our communities and in one another. So I think I feel the same way now as I did then. As usual, this year's Sundance selection is chock-full of timely documentaries — about trans rights, prison conditions, the fate of left-leaning politicians and more. But only one is evolving so rapidly, so recently, that it could conceivably change its title. From filmmakers Jesse Short Bull ('Lakota Nation vs. the United States') and David France ('How to Survive a Plague'), 'Free Leonard Peltier' chronicles the effort to secure the release of the Native American activist, who was sentenced to life in prison for the killing of two FBI agents in a 1975 standoff at Pine Ridge Indian Reservation. Just days before the start of the festival, in one of his final acts at president, Joe Biden commuted Peltier's sentence, the culmination of decades of work by activists who claim the American Indian Movement figure was wrongfully convicted. Ahead of the film's world premiere on Monday (3:15 p.m. at the Ray Theatre, 1768 Park Ave.), the directors and producers Bird Runningwater and Jhane Meyers will discuss the road to this moment and what recent developments in Peltier's status mean for the movement. They may not change the title to 'Leonard Peltier, Freed,' but it promises to be one of the most urgent conversations at Sundance this year. The Box at the Ray, 1768 Park Ave., 11:30 a.m. Most actors who stop by the L.A. Times Studios to get their photos taken are delighted to see the frames of them and their cast mates on monitors we have set up, but one star was more interested in photos on his phone. Tony Danza, who is at Sundance to support 'Power Book III: Raising Kanan,' showed off pictures of his first granddaughter (and third grandchild), who was born Friday night. She's already ready for the spotlight — a favorite snap was one of the newborn posing. Catch up and see photos of the stars who dropped by on Saturday, including Carey Mulligan and Benedict Cumberbatch, and check out clips from our video interviews below. — Vanessa Franko WATCH: 'Train Dreams' at L.A. Times Talks @ Sundance presented by Chase Sapphire Reserve WATCH: Dave Franco explains the keys to a lasting relationship WATCH: The worst thing about motherhood that Rose Byrne and Mary Bronstein would wish on their husbands WATCH: Why did Rachel Sennott carry a jar of pickles at parties? WATCH: Logan Lerman and the pandemic vice he learned from Stanley Tucci WATCH: When is Carey Mulligan putting out an album?
