Latest news with #JasonSchwartzman
Yahoo
20 hours ago
- Entertainment
- Yahoo
Jason Schwartzman Latest To Join ‘Artificial' From Luca Guadagnino And Amazon MGM Studios
EXCLUSIVE: Jason Schwartzman is set to join the all-star ensemble of the upcoming Amazon MGM Studios AI pic Artificial that Luca Guadagnino is directing. Schwartzman joins a cast that already includes Andrew Garfield, Yura Borisov, Cooper Koch and Cooper Hoffman. Monica Barbaro and Ike Barinholtz are also in talks to join. Official plot details are being kept under wraps, although the film is being described as a comedic drama set in the world of artificial intelligence. While unconfirmed, sources say the film revolves around the period at OpenAI in 2023 that saw CEO Sam Altman fired and rehired in a matter of days. More from Deadline Luca Guadagnino Eyes 'Artificial' At Amazon MGM As Next Movie With Andrew Garfield, Monica Barbaro And 'Anora' Actor Yura Borisov Circling Ilya Naishuller In Talks To Direct 'Road House 2' Cooper Hoffman Latest To Join Amazon MGM's 'Artificial' Simon Rich wrote the script and will produce alongside Heyday Films' David Heyman and Jeffrey Clifford, as well as Jennifer Fox. Schwartzman most recently was seen in Jesse Armstrong's Mountainhead and also in Guadagnino's Queer, which debuted at the 2024 Venice Film Festival. Up next, he will appear opposite Felicity Jones and Michelle Pfeiffer in Amazon MGM's Oh. What. Fun. and recently wrapped an episode of John Lee Hancock's upcoming AMC series Talamasca. He also starred in Nathan Silver's Between the Temples (Sony Pictures Classics). Previously, Schwartzman played Lucretius 'Lucky' Flickerman in The Hunger Games: The Ballad of Songbirds and Snakes and starred in Wes Anderson's Asteroid City, which premiered at the 2023 Cannes Film Festival. Schwartzman is represented by Ocean Avenue, UTA, and Sloane Offer. Best of Deadline 2025 TV Series Renewals: Photo Gallery 2025 TV Cancellations: Photo Gallery Everything We Know About Season 3 Of 'Euphoria' So Far Solve the daily Crossword
Gizmodo
3 days ago
- Entertainment
- Gizmodo
‘Talamasca: The Secret Order' Lures You Deeper Into the World of ‘Interview With the Vampire'
Vampires, witches, and demons, beware: the Talamasca, a secret group that fans of Interview With the Vampire will already have an inkling about, has you under surveillance. But can the watchers themselves be trusted? The first teaser trailer for Talamasca: The Secret Order, AMC's latest show in its Anne Rice Immortal Universe, suggests that even those on the inside should definitely watch their backs. The trailer heavily features a very blonde Elizabeth McGovern doing her best to recruit Nicholas Denton's character (who has a special gift, we're told) into the group. You also get a glimpse of guest star Jason Schwartzman having what appears to be an absolute blast playing a vampire—as well as Eric Bogosian, reprising his fan-favorite journalist character Daniel Molloy from Interview With the Vampire. The rest of the cast includes William Fichtner, Maisie Richardson-Sellers, and Celine Buckens; the co-showrunners are John Lee Hancock (The Blind Side) and Mark Lafferty (Halt and Catch Fire). Talamasca: The Secret Order hits AMC October 26. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
The Guardian
21-07-2025
- Entertainment
- The Guardian
‘I am elated each time I watch': why Rushmore is my feelgood movie
'Let's hope it's got a happy ending,' Herman Blume, played by Bill Murray in one of his best roles, says near the end of Wes Anderson's 1998 film Rushmore. He makes the remark about an over-the-top, literally pyrotechnic school play that his teenage friend Max Fischer (Jason Schwartzman) has just debuted to an audience of dazed teachers and parents. But his comment stands in for the whole movie, an audacious and risky comedy that should not work, but does. I am elated each time I watch this poignant, wise and wildly funny film – and, yes, there is a happy ending. Rushmore is about children trying to act like adults and adults acting like children. Fischer is a precocious scholarship student at Rushmore, a prestigious private boys' school. He is the sort of bright but naive young person who tries to impress an adult by telling them, with a straight face, that he plans to apply to Oxford and the Sorbonne for university, with Harvard as a 'safety.' In fact, Fischer spends more time planning lavish plays and starting school clubs than studying. He is one of the school's 'worst students,' his headmaster (Brian Cox) sighs. One day Fischer meets Blume, a local industrialist whose sons are students at Rushmore. Blume is a self-hating rich man – his loathing of his boorish, silver-spoon-fed sons is one of the film's many funny running jokes – and he takes a shine to the scrappy Fischer. Despite their difference in age, the two develop a sincere and surprisingly equal friendship. A wrench is thrown into their bromance when Fischer meets Rosemary Cross (Olivia Williams), a new teacher at Rushmore and a recent widow, and develops a powerful crush. In addition to the obvious hurdles – he is a child, and she is not interested – his friend Blume becomes smitten, as well. (Talking to Fischer by cellphone, Blume tries to talk him out of his crush on Rosemary. 'I mean, she's not that beautiful. She's not that intriguing,' he argues, as the camera pans to reveal that he is spying on her through a classroom window.) The two friends spiral into an infantile battle for Rosemary's attention – without, in classic male fashion, having given much thought to her feelings. A love triangle (sort of) between two adults and a teenager is an odd, even uncomfortable, premise for a movie. Rushmore's protagonist, Fischer, is also frankly a bad person: a shameless operator who manipulates people, subjects the exasperated Rosemary to grand and misguided romantic gestures, and acts ruthlessly to realize his overambitious projects. (Perhaps Anderson is trying to tell us something about auteur filmmakers?) There's a version of Rushmore that reads like Fatal Attraction; it is a testament to the film's intelligence that it instead bubbles over with charm, warmth, and emotional observation. I first watched Rushmore in high school, when I was old enough to appreciate the movie but not really to fully understand it. It was recommended by a friend who had a touch of Fischer to him, and perhaps saw a touch in me, too. Watching the movie, I had a strange shock of recognition: not just 'Where has this been all my life?' but 'How is it that some people I've never met made something perfectly tailored to my sensibilities?' Of course, a good film offers more, not less, each time you watch it. I've come back to Rushmore again and again, and each time I catch things – jokes, call-backs, themes, smart symmetries and flourishes – that I hadn't noticed before. The film is the best of Anderson's quirky vision, without an overindulgence in the aspects of his style that can be grating or 'twee,' to cite a common criticism. One reason may be the contribution of the actor Owen Wilson, who co-wrote Anderson's first three films (including another fan favorite, The Royal Tenenbaums). I suspect he balanced Anderson's whimsy with a certain groundedness and emotionality. Rushmore is stamped with the famous Anderson aesthetic, but its characters and story also have a realness that his more recent work sometimes lacks. As entertainment, the film gives me sheer pleasure. Yet it is also a profoundly shrewd study of relationships, ego, and growing up, whose emotional maturity is all the more impressive given that Anderson and Wilson started writing it when they were still in their twenties. And the film's iconic soundtrack of British Invasion pop-rock is perfectly chosen, none more so than in the final scene. As characters dance sweetly to Faces' Ooh La La, the lyrics offer a summation: 'I wish that I knew what I know now … When I was younger.' Rushmore is available on Hoopla in the US or to rent digitally in the UK and Australia
The Guardian
21-07-2025
- Entertainment
- The Guardian
‘I am elated each time I watch': why Rushmore is my feelgood movie
'Let's hope it's got a happy ending,' Herman Blume, played by Bill Murray in one of his best roles, says near the end of Wes Anderson's 1998 film Rushmore. He makes the remark about an over-the-top, literally pyrotechnic school play that his teenage friend Max Fischer (Jason Schwartzman) has just debuted to an audience of dazed teachers and parents. But his comment stands in for the whole movie, an audacious and risky comedy that should not work, but does. I am elated each time I watch this poignant, wise and wildly funny film – and, yes, there is a happy ending. Rushmore is about children trying to act like adults and adults acting like children. Fischer is a precocious scholarship student at Rushmore, a prestigious private boys' school. He is the sort of bright but naive young person who tries to impress an adult by telling them, with a straight face, that he plans to apply to Oxford and the Sorbonne for university, with Harvard as a 'safety.' In fact, Fischer spends more time planning lavish plays and starting school clubs than studying. He is one of the school's 'worst students,' his headmaster (Brian Cox) sighs. One day Fischer meets Blume, a local industrialist whose sons are students at Rushmore. Blume is a self-hating rich man – his loathing of his boorish, silver-spoon-fed sons is one of the film's many funny running jokes – and he takes a shine to the scrappy Fischer. Despite their difference in age, the two develop a sincere and surprisingly equal friendship. A wrench is thrown into their bromance when Fischer meets Rosemary Cross (Olivia Williams), a new teacher at Rushmore and a recent widow, and develops a powerful crush. In addition to the obvious hurdles – he is a child, and she is not interested – his friend Blume becomes smitten, as well. (Talking to Fischer by cellphone, Blume tries to talk him out of his crush on Rosemary. 'I mean, she's not that beautiful. She's not that intriguing,' he argues, as the camera pans to reveal that he is spying on her through a classroom window.) The two friends spiral into an infantile battle for Rosemary's attention – without, in classic male fashion, having given much thought to her feelings. A love triangle (sort of) between two adults and a teenager is an odd, even uncomfortable, premise for a movie. Rushmore's protagonist, Fischer, is also frankly a bad person: a shameless operator who manipulates people, subjects the exasperated Rosemary to grand and misguided romantic gestures, and acts ruthlessly to realize his overambitious projects. (Perhaps Anderson is trying to tell us something about auteur filmmakers?) There's a version of Rushmore that reads like Fatal Attraction; it is a testament to the film's intelligence that it instead bubbles over with charm, warmth, and emotional observation. I first watched Rushmore in high school, when I was old enough to appreciate the movie but not really to fully understand it. It was recommended by a friend who had a touch of Fischer to him, and perhaps saw a touch in me, too. Watching the movie, I had a strange shock of recognition: not just 'Where has this been all my life?' but 'How is it that some people I've never met made something perfectly tailored to my sensibilities?' Of course, a good film offers more, not less, each time you watch it. I've come back to Rushmore again and again, and each time I catch things – jokes, call-backs, themes, smart symmetries and flourishes – that I hadn't noticed before. The film is the best of Anderson's quirky vision, without an overindulgence in the aspects of his style that can be grating or 'twee,' to cite a common criticism. One reason may be the contribution of the actor Owen Wilson, who co-wrote Anderson's first three films (including another fan favorite, The Royal Tenenbaums). I suspect he balanced Anderson's whimsy with a certain groundedness and emotionality. Rushmore is stamped with the famous Anderson aesthetic, but its characters and story also have a realness that his more recent work sometimes lacks. As entertainment, the film gives me sheer pleasure. Yet it is also a profoundly shrewd study of relationships, ego, and growing up, whose emotional maturity is all the more impressive given that Anderson and Wilson started writing it when they were still in their twenties. And the film's iconic soundtrack of British Invasion pop-rock is perfectly chosen, none more so than in the final scene. As characters dance sweetly to Faces' Ooh La La, the lyrics offer a summation: 'I wish that I knew what I know now … When I was younger.' Rushmore is available on Hoopla in the US or to rent digitally in the UK and Australia
Irish Times
07-07-2025
- Entertainment
- Irish Times
Alex Ross Perry on his Pavement documentary: ‘The concept was an absurd notion that this band would ever go gold or platinum'
More than 16 years into his film-making career, Alex Ross Perry can shake the most algorithm-trodden viewers out of their complacency. His unapologetically caustic, literary milieu, populated by spiky, self-absorbed humans, remains defiantly indie, made on modest budgets, with zero concessions towards 'relatable' entertainment norms. In Listen Up Philip , from 2014, Jason Schwartzman plays a misanthropic novelist who alienates everyone around him. In Her Smell, playing Becky Something, Elisabeth Moss delivers a ferocious performance as a volatile, drug-addled punk rocker. In the earlier Queen of Earth , Moss excelled as a grieving woman descending into paranoia. The film-maker's devoted following intersects with that of Paul Schrader, John Cassavetes and the American authors Thomas Pynchon and Philip Roth. Pavements, Perry's new hybrid documentary portrait of Pavement, indie rock's least-bothered legacy act, is a thrillingly maximalist curveball from an auteur with such a disciplined, character-driven oeuvre. It's a world away from those films that Perry's cinematographer, Sean Price Williams, has described as 'people talking in rooms'. READ MORE 'You hope that everything you create will be a new process, no matter what,' says Perry. 'You're looking for that every time in some way or another. But, by definition, there are 40 primary characters in Pavements whom you're keeping track of. That is extremely rare and complicated – except for movies like Nashville [directed by Robert Altman, from 1975]. 'The movie is actually really several smaller movies. The challenge was making little tiny movies that fit into a bigger movie. I wanted to make something complicated and unprecedented.' Nearly 35 years after a band of self-styled slackers from Stockton, California, emerged with a batch of lo-fi, inscrutable songs, Pavement remain an outlier in American indie rock. They were never meant for the mainstream. Formed in 1989 by Stephen Malkmus and Scott Kannberg (aka Spiral Stairs), Pavement began as a studio experiment of distorted guitars and nebulous mumbling. They sold self-distributed cassettes and secured some basement shows. They scored an unexpected success with their much-loved album Slanted and Enchanted from 1992, but their jagged sound and nonsensical lyrics would never truly go mainstream. 'I always was hoping that it was music for the future. I mean, I think everyone who's not that successful in their time tries to think that,' says Malkmus early in Perry's film, a documentary that occasionally gives you the sense that you're watching the biggest act on the planet. A lot is going on. An anchoring timeline chronicles the band's 2022 reunion tour – their first since 2010 – featuring rehearsals and performances from dates across North America and Europe. Off-Broadway, hopefuls audition for Slanted! Enchanted! A Pavement Musical. A pop-up Pavement museum, ostentatiously titled Pavements 1933–2022, features authentic artefacts and apparent fakes. There's more chicanery in Range Life: A Pavement Story, fragments of a grandiloquent Hollywood biopic filmed within the film, starring Joe Keery as Malkmus, with Schwartzman as Chris Lombardi, founder of Matador Records, the band's long-time label. There is even a completely made-up awards-season denouement, featuring Greta Gerwig and Noah Baumbach. It's an epic sprawl that came together surprisingly quickly following an approach by Matador. Lombardi pitched the idea, with Malkmus giving a clear directive: they didn't want a typical documentary or a scripted screenplay. The frontman's only note was a request for something 'confusing and weird'. 'Within six weeks of being contacted to come up with some sort of radical or unusual idea that could be a suitably unique Pavement movie, all of those strands were there,' says Perry. 'When I look at my early documents, the only thing in my notes that is not in the movie is a fictionalised art-house film – I had the idea that, in addition to a very cliched, silly, bad Hollywood movie, there would be an art film like Edvard Munch by Peter Watkins. All of the ideas were there from the outset. My first thought was the movie ought to be a mosaic.' In 1999, after a decade that had seen them have moderate hits with Cut Your Hair, Gold Soundz and Range Life, Pavement broke up with the same shrugs they brought to their live performances. They had sung and played off-key during shambolic television appearances. Their inclusion on the bill of the Lollapalooza festival in 1995 – an odd fit alongside Sonic Youth, Hole, Cypress Hill, Sinéad O'Connor, Beck and Coolio – almost started a riot. Do Pavement fit Perry's description of his most acerbic creations as 'people who can't get out of their own way'? 'When I first heard Pavement as a young person, I had no understanding of the complexity of what an artist's goals are,' the film-maker says. 'You don't think about that stuff when you're 13. You're just hearing a good song and catching a concert. That level of insight is invisible to a lot of the public, and often only visible in hindsight. 'But it certainly became their story in the 20 years after they broke up. After the reunion it became the story of unfulfilled ambition and missed opportunities and untapped potential. 'During my research for the film, which was all done in 2020, deep into the pandemic, when nobody in the band had seen each other since the 2010 reunion tour, the narratives I was given by everyone involved with the band spoke to that disappointment.' Then came a plot twist. Harness Your Hopes, an obscure track recorded in 1996, unexpectedly became one of the band's most popular songs. Despite never being released as a single or receiving significant radio play at the time, the track gained traction on Spotify in the 2010s – it now has more than 210 million streams – before igniting a dance craze on TikTok. 'At some point, making the movie, I looked at their Spotify page expecting to see Range Life or Cut Your Hair as their number-one songs. And suddenly I'm asking, 'Why does this song have tens of millions more views than everything else?' 'This song hasn't even been on my radar for narrative purposes. And then I googled it and discovered this crazy thing happened. By the time the band were rehearsing for the 2022 tour, this song had blown up and they were playing it as part of every show. I shot the video for it before we shot the movie.' It is a delightful second act, not just for Pavement but for Pavements. Perry's grandiose, counterfactual account of the band now feels strangely prophetic. 'We made this movie over a five-year span,' he says. 'The concept was an absurd notion that this band would ever go gold or platinum. We weren't thinking, Oh, that'll be funny, because sooner or later they'll have gold records. It was, like, This is the most ridiculous thing imaginable, because they haven't been a band for 25 years. And now the movie is out and the success that had eluded them for forever has happened.' Pavements is in cinemas from Friday, July 11th
