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亚博下载安装采用百度引擎4(Baidu 4)(Photo by Jessica Miglio/Netflix © 2021)Talking to Fear Street trilogy director Leigh Janiak, you get the feeling that if she were to find herself in a Scream movie she d probably survive a call from Ghostface. Not necessarily because she could out-fight or outrun him (though, having simultaneously directed three interconnected slasher flicks set in different time periods and released them all at the same time to Certified Fresh critical acclaim, we re not questioning her stamina!). But because she knows so much about horror movies. Whatever trick questions a masked killer could throw at Janiak in some menacing late-night quiz-before-you-die call, we re pretty sure Janiak would emerge with straight A s and zero punctures.Janiak s incredible knowledge of, and reverence for, the genre is evident all over her ambitious horror triptych, now available on Netflix: Fear Street Part One: 1994, Fear Street Part Two: 1978, and Fear Street Part Three: 1666. Drawn from the books of R.L. Stine, the three films tell the story of a rag-tag group of friends from Shadyside – the wrong side of the tracks according to the uppity citizens of the more manicured Sunnyvale – who are trying to get to the bottom of a centuries-old mystery that has been unleashing a new mass murderer upon their town with each generation. The trilogy s three parts all have their own slasher flavor, with 1994 playing as a Scream-like mid- 90s horror-comedy, 1978 aping the campfire carnage of Friday the 13th and Sleepaway Camp, and 1666 echoing Robert Eggers  The Witch – with a heavy dollop of The Crucible stirred into the cauldron.For horror fans, there are references and Easter eggs galore, from the use of Scream composer Marco Beltrami to co-write the music to the shock kills that will give in-the-know slasher aficionados a giddy rush of deja vu.(Photo by Jessica Miglio/Netflix © 2021)The director s knowledge and passion for horror is even more apparent when you speak with her, as Rotten Tomatoes recently did, in the wake of Fear Street s success – and buzz building about a possible new set of films. (She describes meeting Beltrami as the biggest fangirl moment of her life.) Janiak says part of the challenge in directing the films was to balance all that geeky enthusiasm for the genre with telling a story that feels fresh and current, something that goes beyond impersonation and homage. The key to doing that, she says, was in where she put the focus. Unlike the giants of the slasher genre from decades past, which centered their stories largely on upper- and middle-class kids – straight white kids at that – Fear Street s central characters seem to emerge from the sidelines of those movies, diverse in background and orientation, and happy to f k with slasherdom s moral order. That was the reason that I felt like we could explore making Fear Street, said Janiak, whose Certified Fresh Honeymoon marked her as a genre talent to watch when it was released in 2014. When I started to have these early conversations with the producers, that was the central question, which is, We have a huge, amazing tradition of great slasher movies for decades and decades, so what are we going to bring that s going to justify making the movie? How do we say that this makes sense? For me, that lay in this opportunity to shine a light on these characters that are not usually in the spotlight. With the Fear Street films charting on Netflix, and horror fans waiting for news of sequels and spin-offs, Janiak went deep with us on how she created a horror phenomenon, from constructing an epic homage to Scream s iconic opening scene and writing an overall love letter to her favorite films to giving a new generation its own memorable kills. (Yes, we talked about the bread slicer at length.) Plus, she talks the power of balancing buoyancy and brutality in crafting a slasher, the current energy behind the genre, and what s next for her – which, yes, could very well involve a return to the Fear Street universe.Spoiler warning: The below interview contains spoilers for all three Fear Street movies. Joel Meares for Rotten Tomatoes: I want to start with your connection to the Fear Street books. Growing up in the ’90s, I really loved the Fear Street books, and Christopher Pike as well, that edgy teen horror genre. What was it that appealed to you about the Fear Street books?Leigh Janiak: I was also a teenager like you in the ’90s. I don t know exactly what it was about the Fear Street books, and the Christopher Pike books, but I think that there was just something appealing about reading these things which described the world that I lived in, but way crazier. Do you know what I mean? Way more violent. But I think there s something about that, for sure, and the teenage-girl experience. You re living in this already semi-unsafe world, where you re taught to walk home at night with your keys between your fingers, and things like that. There s something about reading about this world, which is super dangerous and insane, but manageable. There s that ability to dip into this crazy world – I loved it and it felt really edgy. It felt subversive. It felt like I was maybe reading something that I shouldn t be reading.Rotten Tomatoes: I think you really carry that spirit into these films. But also I was watching, thinking, Who is the age bracket for this? You balance this hard “R” gore with this lighter fun tone that s super exciting. How did you think about pitching it in that way, and striking that balance between going too hard and keeping it still light and fun?Janiak: I felt like, because they were primarily slasher movies, we had to be living in that R-rated world. We had to be violent, and we had to be bloody, and we had to have all of the kills. But I also did want to stay true to the spirit of the books, which always had this element of fun. I felt like, even when things get dark or get violent in the books, there s still this buoyancy. It s fun, I don t know how else to describe it. That, to me, was always the line. Obviously, in movie three, we dip into a different tonal place by design, but for movie one and movie two, it was always watching that line of staying true to what the slasher genre would be – if we were in the ’90s, we’re paying homage to those mid-’90s slashers – and then stepping into this different world. Just walking that line between fun, and then keeping the subversive quality also, of the memory of what those books were, if that makes sense, which I think helped live in that R-rated world, too.(Photo by © Netflix) Rotten Tomatoes: Speaking of mid-’90s slashers, you kick off with this great homage to the opening of Scream with Maya Hawke getting murdered in the mall. First, just how many times you ve watched the opening scene of Scream?! Also, you re taking on a beast among slasher fans, to pay homage to that scene and try to be as scary: What was your approach to creating that opening?Janiak: That one, for sure, it was all about orienting the audience and saying, Okay, we re going to live in this world, the tonal world, of the ’90s slasher. Scream, obviously, is, in my opinion, the greatest example of this. And to answer your question, I can t even count the amount of times that I ve seen that movie, let alone the opening sequence of it. It s just so brilliant. I’m getting off topic, but every time I watch it, it s that thing when you feel, Oh, f k. That s so good it stresses me out.” The script, and the way it s shot, and the scares, and the fun. Anyway, obviously I love that movie. So, when we were shooting, I wanted to very much be sending that love letter, and immediately orienting the audience into, Okay, this is it. This is creepy, this is scary. But again, there s the funny quality of Heather (Hawke) getting scared by the mask when she s in the gag joke store, all of those things.The moment that was the most important to me of the whole sequence is when she takes off Skull Mask s mask, and reveals that it s Ryan, the guy that she was talking to, because I think that, to me, was the moment of just telegraphing to the audience: Okay, we re living in this place where we re going to be very much paying homage to those ’90s classics, but all bets are off as far as what your expectations are. Usually, you d be waiting to see who s behind the mask for the entire movie, and that s not what this is. That was the goal of that opening sequence.(Photo by Netflix © 2021)Rotten Tomatoes: It was so effective. I was giddy. I ve seen Scream a million times. It s my favorite movie, so when I saw this opening, I was like, Oh, s t. I m in this trilogy now. I want to ask you about striking the balance between homage and not going too far with that, because there were scenes in the school corridor where I was getting flashbacks; I got a sense of deja vu in the bathroom. How did you strike that balance between honoring the source material, placing Easter eggs for people, but also making it its own thing and not just a series of references?Janiak: I think that you hit the nail on the head, because it was this weird thing of, Okay, how do we give the audience a good dose of nostalgia? – like you said, pay homage, send a love letter,” all of those things – but not have it dip into parody or just mimicry. For me, that laid in making our characters and our story this unique thing so that tonally we would be in this world that we understood – we’d be revisiting sequences, set pieces, things like that, that we ve seen in these movies – but the point of view of our characters and the journey that they re on is different. And this goes into the representation in the Fear Street movies that we tried to create, of showing people who just weren t as represented, if at all, in the movies of ’90s, ’80s, or ’70s. That, to me, was our emotional heart and our narrative was the thing that was new. Then, that let us live in that world in-between, I hope.Rotten Tomatoes: Yeah, it s very interesting. During the pandemic, I ve gone back – I ve seen these movies a million times – but I re-watched the Scream movies, the I Know What You Did Last Summer movies, the Urban Legends – even Valentine. And you notice these are really un-diverse films. It s quite shocking to go back to it in a 2021 context. So I wanted to talk about the idea of putting people who are on the periphery of those movies, if they’re even ever seen in those movies, at the center of yours. It s much more diverse, but it s also the folks who break the horror rules, so to speak, who are the heroes and the survivors in the Fear Street movies.Janiak: That was the reason that I felt like we could explore making Fear Street. When I started to have these early conversations with the producers, that was the central question, which is, We have a huge, amazing tradition of great slasher movies for decades and decades, so what are we going to bring that s going to justify making the movie? How do we say that this makes sense? For me, that lay in this opportunity to shine a light on these characters that are not usually in the spotlight.(Photo by © Netflix)The cool thing about having the Fear Street books was it allowed us to create this mythology, which builds who these characters are at their core, into the central narrative, the central constructs of the entire story, which is that division between Shadyside and Sunnyvale, the haves and the have-nots. The idea that Solomon was this white man who felt entitled to this other world and he used these two girls, who didn t fit in the box that society wanted them to be in back then, as scapegoats. By being able to tell the entire story of Shadyside s trauma, these characters that have felt the systemic oppression brought via these killers for century after century, that made the franchise seem exciting and new for me as a filmmaker.Rotten Tomatoes: I mentioned the “rules” before. Obviously, they were enunciated very explicitly by Randy in Scream – no sex, no drugs etc – but they ve been built up for decades and decades, with characters traditionally punished for violating them. You have these characters break them, but there s never any judgment or morality brought into the equation from the filmmaker s eye. I think about the scene in 1666, where the kids are in the woods and they re taking the berries and tripping, and it s this really beautiful, modern, non-judgmental approach to that experience. And I love later when the character says something like, We were just in the woods having some applejack – this is pretty normal, guys. Was that an intentional thing as well, to reframe the morality of these films?Janiak: Absolutely. I m glad that you talked about that, because that was also one of the things that we felt would be said to be new about these movies. Our characters are outsiders, yes, but they re also doing the thing that they re not supposed to be doing that normally we would pass judgment on. To be able to show this teenage spirit, that in whatever century we happen to find these characters in: Kids are kids, teens are teens. These are just kids, specifically within the world of Shadyside, who are trying to live. They re just trying to live their life, and they ve got all these other things just pushing down on them. We obviously, hopefully, are coming back. I need to show how they can beat those things and come out on top. It was certainly a decision to not pass judgment on these moments and to reframe the entire point of view of the audience on these scenarios that we ve seen in other movies traditionally.(Photo by © Netflix)Rotten Tomatoes: I want to talk kills, because there are some amazing kills in this trilogy. I was reading an interview with the team that s making Scream 2022, and they were talking about how some of the best kills in horror movies are the ones you can identify with a single word or a single idea – it s the “garage door kill” or something like that. I think about this trilogy and I m immediately, like, Bread slicer! What was your approach to creating some really memorable and iconic kills. Did you have a frame of reference or an approach?Janiak: Part of the fun of the slasher genre, to me, is finding ways that people can get killed or destroyed that you would never imagine, just like the garage in Scream. It s so brilliant. We were always looking for places that we could do something like that. Specifically, like I say, in the ’90s, one of the things that I loved about the world was that we could take suburbia, we could take the familiar places of suburbia, like the grocery store, the hospital, school, all of them, and destroy it, and then twist it. When we would go into the locations, we d always be thinking of ways that we could deconstruct that and cause more chaos – to make the familiar basically become unfamiliar and become horrific.I think that was the idea of the bakery, which we had, obviously, before we ever scouted. It was this idea of, Oh, a bakery: What a beautiful, wonderful place. There are cakes, there s all these really appealing things How can we make this horrific? I just remember the earliest image for that idea was just frosting mixed with blood. When that had come into my mind, everything went backwards from there.The bread slicer kill – I don t know how it could not be anyone s favorite. Julia Rehwald, who played Kate, just crushed it. Her pain and her fear, everything about her performance in that, it s just so visceral. It s not usually like that. When you re filming a horror movie, it s always challenging because there s just a million people around, and there are lights and all of the things, and the mood is not necessarily there, but her performance in that moment was just so intense that we were all kind of like, S t. (Photo by © Netflix)Rotten Tomatoes: It s an All Bets Are Off moment, because I think everyone thought something was going to stop that bread slicer. When nothing did, I was like, Oh, s t. Okay. That s what this movie is.  Janiak: That was a hard moment, too, but I think ultimately we decided that even though we re in the third act of that first movie, we re just in the first act of the trilogy, and it felt like we needed While I wanted the movie to always be fun, I also wanted it to be real stakes and real pain and real emotion; these were characters we cared about and not just a body count for the sake of a body count. It was hard killing her and Simon because I love them so much, but ultimately it felt like that needed to be part of a motivation for Deena and Josh and Sam pushing forward.Rotten Tomatoes: One of the biggest geek-out moments for ’90s horror fans is that you had Scream composer Marco Beltrami come on and do the score. Was that a geek-out moment for you, too, and what discussions did you have about the music you wanted for the movie?Janiak: Oh my gosh. First of all, I think that Marco s brilliant, and I think that his scores for the original Scream, and the subsequent ones as well, reinvented what horror music could sound like – because it s so light and bombastic. You have these big orchestral movements happening, and there s chaos underneath always. It often lives in a major key. It s just very current, and it s also written and choreographed to movement in a scene in a way that, at least in the past 20 years, horror music doesn t do. It tends to be more tonal, sitting there in the background, almost wallpaper-y. He was just the opposite of that.Marco was the only composer that I thought about for this, and really was like, Oh, all of my eggs are in this basket. He must do this. I remember I went to his studio up in Malibu, and it s up on this hill, and it s really a trek for me from Los Feliz, from the east side of LA. I ve never had such a fan-girl moment with anyone.(Photo by Jessica Miglio/Netflix © 2021)He understood exactly what we wanted from the ’90s, that we were obviously going to be taking inspiration from what he invented. Then, there was the ’70s, Jerry Goldsmith and the original Omen score and those sounds from the late ’70s, were what was going to influence our 1978 score. (Goldsmith was one of Marco s mentors; Marco actually did some of the music for The Omen reboot that they did in 2006, so that made sense.) Then, obviously, we talked about a score that would be a little more ritualistic, a little more tonal, with more percussion for 1666, and I think he was just very excited about the whole project as an experiment of everything. I think also we were all like, Oh my God, this is so much music, but it was incredible. We recorded at Abbey Road in London and it was just an unbelievable experience. I feel so lucky that we were able to have him.Rotten Tomatoes: I read something Tweeted the other day by Michael Kennedy, who wrote Freaky and the upcoming Time Cut, where he said we were having a real slasher moment. You’ve just put out these three great movies, we ve got a Candyman movie coming out, a Halloween movie, a Scream movie, Freaky just came out… even A24 is making a slasher! Do you feel some energy behind the genre right now? And in the same way we think about the ’90s as this very meta slasher renaissance, are there any defining qualities yet to the current slasher moment?Janiak: I hope that we re in a moment. I hope that we re in this renaissance with slashers, because I love them so much. I think the thing, for me, is that I love where horror has evolved to in the past 15 years or whatever, but it s been dark. It s been really intense in a psychological or emotional way. I think that one of the great things, again, about the slasher genre is that it allows you to have a little bit of “joy” is a really weird word to describe for people that are so being brutally murdered, but I think there is joy, there is buoyancy through slashers. There s fun.(Photo by © Netflix)It feels like You finish the movie and you don t want to go and blow your head off, which I think is a crazy thing to say, but also there s just something that captures that popcorn moment, being in the theater and just having that fun on a Friday night. I think people are hungry for that. I don t know, but that s what I think is the tonal thing about those slasher movies that hopefully will flourish in the next few years as we get the Candyman movie and Scream and all of the things.Rotten Tomatoes: Speaking of more slasher films, what is next for you? And given what we saw in the mid-credits scene for Fear Street Part Three: 1666, would you ever return to this world of Fear Street? Janiak: Absolutely, I would certainly return to the world. I don t know when, but I definitely would. I think that the Fear Street universe is so full, and I think that we ve done a good job of setting the table, and I think that there s a lot of room for additional trilogies and standalone movies. There s a lot of things that make me excited about it, so absolutely. It is a lot of work to do a trilogy all at once, but, for me, it was a very positive experience. I think that s because I had an amazing cast and crew around me. We were all excited, and the work was extremely difficult, but also it was fun to go to work, so that was lovely. Right now, I m about to start shooting The Staircase, a couple episodes of that, with HBO.Rotten Tomatoes: Do you have an idea for more movies in the Fear Street universe?Janiak: That s something that I won t talk about… but, yeah.The Fear Street trilogy is now streaming on Netflix.On an Apple device? Follow Rotten Tomatoes on Apple News.

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前日,EVE手游在正式公布公测定档8月5日,在这个消息公布之际,他们还从EVE的社交核心“军团”入手,开启了军团预集结活动。现在在各个社区,你都能看见EVE玩家军团招新的身影,除了常见的秀肌肉发福利,玩家们还整出了CG大片、女装团长等等好活,吸引了一波游戏玩家的眼球。 Join us weekly as Rotten Tomatoes reports on what s indie features are streaming. From promising releases by new voices to experimental efforts from storied filmmakers – or perhaps the next indie darling to go the distance for end-of-year accolades – we will break it all down for you here each week.For the foreseeable future, the specialty box office and all theatrical releases will be on hold as we all make efforts to socially distance ourselves and reduce the spread of the COVID-19 coronavirus. With that in mind, we have reshaped our Indie Fresh List to include VOD and select drive-in releases. This week we have a road trip horror film, a couple of YA romance adaptations, and a biopic about famed inventor Nikola Tesla starring Ethan Hawke. In our indie trailers section, we have new clips featuring Susan Sarandon, Kate Winslet, and Maisie Williams.New This Weekend

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To really appeal to viewers unfamiliar with the deep canon of The Dark Crystal, as well as die-hard fans, the creators went out of their way to pay intricate attention to the design of each character and every piece of scenery. That means employing hundreds, or even thousands of workers, Leterrier explained, to make wigs, to punch holes for hair into the creatures, and more. It s an important part of the process that Netflix will celebrate, releasing a documentary going behind-the-scenes of Age of Resistance, that’ll appear as the season’s 11th episode. For a show that Henson describes as “a maker spectacular,” this announcement is a no-brainer. The amount of craft that goes into the making of the puppets, and the guys who operate them, we just arrive [on set] and it s sort of there, Egerton said of his responsibility as an actor on the series. The work that everyone else has done kind of feeds your performance, really. We really are just the top layer of a very tall cake. (Photo by Netflix)Hamill, who voices the iconic Skeksis known as the Scientist, couldn t stop raving about being a part of the series. What I loved was how daring and dark it was as opposed to the other projects associated with the Muppets. It s really come into its own. The script for Age of Resistance is very, very good. I don t care about the trappings of the salary or whatever, but you look for projects that are a challenge and stuff you d like to see, and it definitely falls into that category. Hamill will surely be a big draw for the show — his enthusiasm for the show is really quite contagious. But as gross and visceral as the Skeksis can get, Age of

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On June 22, 36 years have passed since the release of The Karate Kid, the story of an underdog, who explores a life unfamiliar to him, and who — with the help of a grumpy old man — raises himself up to be a champion. The 1984 film, directed by John Avildsen and written by Robert Kamen, had a lasting influence on the movie experience — future sports films would measure their stories against the tenacity and resolve on display in The Karate Kid, and Ralph Macchio, Pat Morita, and William Zabka would enjoy a bright moment in the Hollywood sun.That sunlight faded after a time, as new heroes rose — mutants and aliens boasting super-human powers — and now, as their sweet summer dims, Macchio and Zabka have been coaxed back into the open to revisit their beloved characters of  Daniel LaRusso and  Johnny Lawrence in YouTube Premium series Cobra Kai, now available on Netflix.Season 1 was a Certified Fresh hit. All 43 critics that reviewed the season gave it a Fresh rating, landing Cobra Kai — the unlikely streaming TV revival of a slumbering monster film franchise — in our prestigious 100% TV season club. The series also brought back other familiar faces from the original movie, including Martin Kove, who played the Cobra Kai dojo s original alpha-male sensei Kreese in the film, and heartwarming tributes to the humble handyman and teacher Miyagi, played by Morita, who died in 2005.With Season 1 and 2 now on Netflix, with a third Cobra Kai season set to premiere in 2021, we sat down with Macchio and Zabka to talk about what got them back to the dojo, and paying homage to Morita.What follows is a history of Cobra Kai (2018-) and reflection upon the series beginnings, drawn from a sit-down interview with Macchio and Zabka.ALSO WATCH: ORAL HISTORY OF THE KARATE KID WITH RALPH MACCHIO AND WILLIAM ZABKA“It became part of the American lexicon at some point.”Ralph Macchio: “I mean, certainly in the earlier years, from the ’80s into the early ’90s, you had all those images of the crane kick, or the lines like, ‘Get him a body bag’ or ‘Sweep the leg.’ ‘Wax on, wax off.’ [The Karate Kid] became part of the American lexicon at some point. But I think the internet, if you will, or the ability for everyone to be able to talk and spread their voice, really is where it amped up to that other level.And then you have the How I Met Your Mother of it all, which was a show that always teed up from Barney Stinson s perspective of the real Karate Kid. And then that became this whole pop culture thing, and then other videos made. And that set the stage for, I think, the series Cobra Kai fan base coming to the table all amped up for decades of discussion. And it s cool that it all collided in such a good big way.”“We have to go convince Ralph Macchio. William Zabka: “Josh Heald, Jon Hurwitz, Hayden Schlossberg, the creators of Cobra Kai, emailed me and they said, ‘Let’s have lunch and talk to you about a project that we re excited about.’ So I said, ‘OK. Where do you want to meet? There s a Mexican restaurant down the street from my house. Let s meet there.’(Photo by YouTube Premium)So we go in and go and sit at this back table, and the chips come, and they re telling the waiters to leave, and then it was just spitfire, like the three-headed dragon, just a machine gun of information. Like, ‘OK, so here it is. We re huge fans of Karate Kid. We love your work. We want to do this. It s called Cobra Kai. We got the rights of Karate Kid. You re Johnny Lawrence. You re like bad sensei, you re like Walter Matthau in Bad News Bears. You re gonna be the anti-hero.’ And I was like, ‘What? You can t just go do this.’I ve had a lot of ideas presented. I ve thought my own self, like, ‘What can I do more in a satire type of way?’ Because I never could imagine getting the rights to do Johnny Lawrence again. And after The Karate Kid with Jaden Smith came out, I felt like it was really all over. Like, ‘It s moved on.’ … This, it just felt right. And I said, ‘What s the next step?’ They said, ‘Well, we have to go convince Ralph Macchio.’ I said, ‘OK.’”“Oh, crap, I hope this works.”Macchio: “They flew to New York. We met down in Tribeca area, and we spent more than a couple hours. They led off with talking about the themes. They were very focused. I could tell they were nervous, but Hayden, he started right away, and says, Bullying. I would love to have the footage of their pitch to Billy, to convince him, and their pitch to me, because they were different. They didn t start off saying, ‘We want to do the Johnny Lawrence story about Cobra Kai and make him the hero of the story.’ They started talking about themes, so credit them. They did a great job. They were also very well-versed in what they wanted to do, the angle. And they did tell me the title of the show. They weren t trying to say, ‘Oh, it s not gonna be that.’ I knew what it was.My biggest question was they were pitching it as a comedy. I said, ‘Well, where s the funny? What s the tone?’ That was the main question, and where s the Miyagi-isms, and how is that going to be woven into it? Because if it s not, then I m not interested. I need for it to have balance, if you will, across the board of the Karate Kid universe, even though the angle in from the Johnny Lawrence story is super smart.(Photo by YouTube Premium)I felt that they were the guys. I knew from Hot Tub Time Machine and Harold and Kumar that they knew [the humor]. I believed they could write for a young generation and humor and great teen dialogue, which I felt was really important for the show to have that. That s really shedding light in going to season 2 and beyond, because we have this great young cast. I needed to digest it all, but I believed that they were the guys. They wanted to make the show the fans wanted to see, because they were those kids.And then timing: 15 [or] 10 years ago there was no YouTube or Netflix, or a place where you could take a five, six-hour movie and cut it up into parts. We shoot this show and each season is like a full-on movie that you just cut up. You allow the characters to breathe and delve into gray areas, and it s not just so black-and-white and leading to one big quick climax two hours later. All those things together got me to the place of saying, ‘OK, let s do this.’ But not without me closing my eyes, holding my breath, and saying, ‘Oh, crap, I hope this works.’ Now we seem like the two smartest guys in the world.”“We hadn t done this for 35-some years  all of sudden, he walks in and it was just on.”Zabka: “My first scene was with Ed Asner, so how s that for day 1 on a show: working with a legend? It s the scene when I walk in and Ed Asner s in my refrigerator. So they just started me at full speed, and it was great, and he was great — I mean really great. What an honor. It felt like he kissed the show in a way, and he blessed it in a way, by his presence being there. It just felt like wow, we re way up here.”(Photo by YouTube Premium)Macchio: “Our first scene together is still one of my favorites in the Cobra Kai series. The first scene I shot was at the end of episode 2, where LaRusso comes into the Cobra Kai dojo and it s a little stare-down, and they question each other, and it just sets up the entire series. That scene was magic, man. We worked together in a film 30-plus years ago, and we ve been friends for years. But that level of chemistry that we have, I didn t know that it was there at the level that it s now turned out to be. It s just a reminder that this project, be it The Karate Kid and Cobra Kai, has some element that the bar just gets raised and we deliver. I m proud of it.”Zabka: “We hadn t done this for 35-some years now, right? And all of sudden, he walks in and it was just on, and everything else was gone, and it was these two characters exist again in this setting. We walked away. We re like, ‘Wow, there s something really happening.’”“It s warm and wonderful and bittersweet. Pat would ve loved this.”Macchio: “All the time, I think about Pat and his performance. Listen, we re not making the show without Pat Morita s performance as Mr. Miyagi, because that s one of the things that elevated that film to what it is today. They re big shoes to fill. I mean, LaRusso has a line like that early in season 2 — he looks at a picture of Miyagi and says, ‘Boy, I ve got big shoes to fill.’He learns very soon that just because you have knowledge of a subject doesn t necessarily mean you can teach it. And Mr. Miyagi was a magical type character who had a special touch, and LaRusso is learning that he might not have that — or he has to find his own. View this post on Instagram Shooting a poignant Miyagi-influenced scene on @cobrakaiseries then, moments later a surprise visit from Pat Morita’s daughter, Aly makes this one of the most memorable days on the show. All the feels from above and beyond. Another stroke of Miyagi Magic graces the day. Thanks, Aly 🙂 And as always, thank you, Pat. 🙏🥋A post shared by ralph_macchio (@ralph_macchio) on Oct 24, 2018 at 9:47am PDT

If you have a suggestion for a movie or show you think we should do an episode on, let us know in the comments, or email us at rtiswrong@rottentomatoes.com.Meet the hostsJacqueline Coley is an editor at Rotten Tomatoes, with a focus on awards and indie coverage but with a passion for everything, from the MCU to musicals and period pieces. Coley is a regular moderator at conventions and other events, can be seen on Access Hollywood and other shows, and will not stand Constantine slander of any kind. Follow Jacqueline on Twitter: @THATjacqueline.Mark Ellis is a comedian and contributing editor for Rotten Tomatoes. He currently hosts the Rotten Tomatoes series Versus, among others, and can be seen co-hosting the sports entertainment phenomenon Movie Trivia Schmoedown. His favorite Star Wars movie is Jedi (guess which one!), his favorite person is actually a dog (his beloved stepdaughter Mollie), and – thanks to this podcast – he s about to watch Burlesque for the first time in his life. Follow Mark on Twitter: @markellislive.On an Apple device? Follow Rotten Tomatoes on Apple News.
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Barbara Ling:  I got a call to read the script at Quentin s house, and I went crazy for it, then met with Quentin. And the first big meeting was kind of insane. He writes the script as if it s a novel. It was an enormous amount of places. It was all I could do to try to take notes and catch up on how many locations we were going to need it was so massive. A massive film driving through LA, nonstop. It s stopping at many different types of areas. So once Quentin and I talked about the things that were most crucial for him and what he d love to see that could be discovered, all of the rest happened really quite quickly. Within the first 24 hours of me starting, I made sure I had Rick [Schuler] starting the next day, because the one thing that was very apparent to me, time was of the essence, and it was gonna take a lot of wrangling. It s Los Angeles, which is not an easy hunt. So Rick threw his department together fast.Rick Schuler: I was working on Ford v Ferrari and decided to jump over because I wanted to do the Quentin movie. Then I interviewed with Barbara. I guess that interview went well. [laughs] I was excited to be working with her, because she grew up and lived in Hollywood at that time. I came to Hollywood much later, so I was very excited about that. But yeah, it started rather quickly. Barbara met with him first, and then I got to the script, and then just started breaking down the locations. Barbara was already doing the locations that were written in the script and scouted already. So there was plenty for me to start wrapping my head around, like Musso Frank s and Casa Vega and all that kind of stuff. And then it was only later that I jumped in and talked more with Barbara and Quentin about other specific locations.Ling: We had Quentin in a car the very first week we both started. By the end of that week, we were driving the streets of LA. We had a tight window of only about 12 weeks before the tech scout and the first commercial shoots. Those little commercials were being made for within the film first, which meant that you had 12 weeks to put this movie together, to have the budget, start building, and start finding. The best part was being in the car with Quentin those hours and long conversations. And it does take hours, because driving through Los Angeles scouting is always hours. [laughs] In one respect, it was good, because that s where you get so much about what he s thinking. He s going, Yeah, and what about that? What about if we do this?  It s a creative time. And then there was nonstop driving with him once Rick would assemble things. It was a very quick process, but very creative and very fun. The hardest part [was] getting all of [these fractured moments] pinned down in the beginning. (Photo by Columbia/Sony Pictures)Ling: You have a layering in this film that s separate from the world that they were in the everyday 1960s, and then you had the TV shows that they were in at that time. Rick Dalton s Lancer would ve been set as an 1800s Western. So now we re doing this film, and we re doing the eras within the era. The constant was 1969, the live-action now. The actors, you d see on the streets or in their homes. And then we d go to a set, and now we re coming into a TV show. You have the Westerns, the Hullabaloo, and these fractured moments around different sets that carry on as their characters are on the set. When Cliff Booth is fighting Bruce Lee you re there on the outside of the set in the 1960s. You re not on the inside of the set, but it s there in the background.And those scenes within the scenes are the hardest part. Getting all of that pinned down in the beginning how many TV shows are there? It s a lot. It s a lot because there were a broad range of shows. But Quentin had to pin it down for himself. He said,  Okay, we re going to do 20 of these shows. But then you had the everyday action of the movie, Rick s life, Rick coming home, Cliff going to his trailer, the introduction of the Polanski house. And there s actually a lot that we did that didn t make the cut, because what happens with any movie is that you go for the gold, and then you think, Well, maybe I don t need that now. [Quentin s] an encyclopedia of both film and TV shows of that era. (Photo by Columbia/Sony Pictures)Schuler: Do you remember how he [Quentin] would pop things on us? Like, we were driving back from somewhere, and he goes, Oh, okay, go down Riverside. Go by Bob s Big Boy, and make a left on Furman. Stop. Now, let s get out of the car. And then he showed us a restaurant that he had frequented with his family growing up called The Money Tree on Riverside. And then once he sort of told us about that, he said, Well, an FBI episode was shot here. And we re listening, and he s like, Yeah, and I want to do this scene here. And that was sort of completely out of the blue.Ling: What s so great about Quentin, he s an encyclopedia of both film and TV shows of that era, particularly of the 50s, 60s, and 70s. And because there were scenes from FBI he wanted to recreate, which he did with Rick s character, we found a location and put that into the episode. He had found an old FBI with Burt Reynolds that he knew had a moment driving right down Riverside Drive and making the turn on Furman he just knew exactly where that was. The Money Tree was the place he had gone to, and he said, This would be fabulous if we just recreate on this block, if we could put everything back. And I was like, Well, that s not an easy ask. [laughs] Riverside is not an easy street, but it was fabulous because it s something off the beaten track, and that s what makes period work fun. And working with Quentin, those are the things that aren t always obvious, but it s very fun. Hollywood tends to be kind of an idea, but not so much a destination. [Tarantino] could make it a destination. (Photo by Columbia/Sony Pictures)Ling:  I would say Hollywood Boulevard was certainly one of the most massive things we tried. That had not really been done in probably 50 years, that someone was allowed to close Hollywood Boulevard. To have that much work done and closed down for, what? Three days? It was massive. Just the logistics of getting it done was like a miracle.Schuler: When Quentin mentioned he wanted to do Hollywood Boulevard, I was thinking, Oh, we ll do it between 9:00 AM and 3:00 PM in the afternoon, and then we ll do some night stuff, so that we can work between rush hours and all that. And then as he kept talking about Hollywood Boulevard, it became clear to me, Oh, there s no way we re going to do this, this way. We re going to have to really shut this whole thing down. So I started talking to the stakeholders in the area about what we wanted to do. Eventually, it led to a meeting with those stakeholders, and it became clear that I needed to get the council s office on board. The Department of Transportation was going to say no, because they have to say no. Our filming there is not going to make driving around Hollywood easier. They made it clear that if I could get the council s office to override everybody else, then they would be willing to go along with it, because, essentially, there was political cover, and it was out of their hands. I understood that, so eventually, we were able to go ahead and do that.Quentin came to the meeting, and by that time, everybody was on board with the project. And part of it was due in part that it was a movie about Hollywood. It was a man who had essentially grown up in Hollywood, that worked in Hollywood, that owned a theater in Hollywood, and who better to be able to do something like this and actually give something back to the city? That was the plug he made, and it worked. Hollywood tends to be kind of an idea, but not so much a destination. He could make it a destination. People could watch this movie, come to Hollywood, and start looking for locations where we shot. When I went into this meeting, they said they didn t do this except like maybe 50 years ago it was Alex in Wonderland  Quentin had actually shown us that movie. They also had shut down Hollywood Boulevard, they had tanks on the street, cars on fire, and machine gun fire in that movie. And as a humorous point, I said, Okay, you ve done this before. I can promise you, we won t do this again, but I do need some time to do some stuff that will bring people to this city. And they consented to that. [Rick Dalton s house] was our hardest location to scout. (Photo by Columbia/Sony Pictures)Ling: [Rick Dalton s house] was our hardest location, because it was written with such detail. Quentin had a shot that was actually written in the script about Rick in his pool. He s floating, and the camera is on Rick then the camera pulls up, comes up over the house, over the trees and lands right in front of the driveway with the Polanskis coming out the door and getting in their car. He wanted to do that in one shot. To get that was the longest thing we ever hunted. This was Rick s army of human beings searching every avenue on Google Earth looking for two houses that we could actually use that had all the other things we needed, which was a great pool and a view. That went on for months and months, trying to find this combination. And eventually, we found it, but it took months, an enormous amount of work, different homes, and different things. But the shot was so crucial to Quentin, it had to work. He had to be able to get this shot. But finally, in Studio City, up in the hills, we found this great pool that actually had a great view, and then it had a house above it. And all of it could be just altered enough to look more like hillsides.What we didn t do was use Rick s interior house there that became four locations. Rick s interior, I built on a stage, because that was too specific for Quentin in staging, especially for the final scene. That would ve been nearly impossible to find a house that would let me rebuild the interior to look like what he needed. So we did that one on a stage, and then we put in a pool, but in miniature, that was only about six inches deep, so that you could still look out the window at night. And then up at Sharon s house, for her backyard, we used yet another house that was in Tarzana. We altered the back of their house, so when you came out of a door at Sharon s house in Studio City, you actually were in this new location.It was an amazing collection of locations to make one thing. Plus, Quentin did a brilliant, brilliant job in his staging, so you never know that s not all just the same place. It was a number of locations to make up those two. But the feeling of Rick s interior was very important with Quentin it had to feel like a bachelor pad of the time, one of the late 50s for an early 60s kind of actor in Benedict Canyon. This mid-century kind of development actually is what they were. And it s the idea of, Rick Dalton s not a decorator, so he just puts a lot of stuff from his shows. He s got his saddle from one of the Westerns. He s got his Spanish bar we did Palomino skins in it and that s kind of the center of his universe within his home. And of course, the TV, with the mid-century BarcaLounger. You can tell it s not a female-driven home; it s very male-driven. And those are the things that a man would decorate around. The bar was also very important to Quentin what the cups were and things like that. And a lot of pieces from Quentin s own house are in that bar. He also loves to put in little tidbits of old movies like the Hopalong Cassidy poster with a Hopalong Cassidy cup, and all the other things that he collects. They were all places that Quentin goes to, and they love him as a client and as a filmmaker. (Photo by Columbia/Sony Pictures)Ling: It all started just quickly with Musso s, which of course is still very period. That place still looks like 1969, and they adore Quentin. They were very lovely, particularly with the decorating and prop crowd. When we said, Oh, we re going to bring out the dishes that were the right dishes for 1969. They still had everything it was still in that kitchen. The only things we changed out were things in the front, getting rid of the digital cash registers. We changed the curtains and all the stuff by the front door back to the curtains of the time. And we changed all the bottles to make sure that they were the labels from 1969, because even a lot of the alcohol has changed.Certainly, the theaters had more work, particularly the Bruin, who also were great to us. They let us change out their snack bar, put it back to the original snack bar, get rid of things on the side, and put up huge posters inside of there. We had to actually put our own projectors in, because Quentin wanted the film Sharon was watching to be the actual film, not to put that in digitally. So in the back of the theater, they let us take out seats and build another booth and put in film projectors with enough light that we projected the film, in film. So Sharon Tate (Margot Robbie) was watching the film the way it would have been screened at that time. So they were very gracious with all of this. They found even some of the original deco poster holders in their basement and brought them out for us; they were original to 1969. Then we built pieces on the exterior of the building to hold the posters. We were very lucky that both the theaters were managed by the same company. They were incredibly great in letting us change the marquees out of LED to florescent marquees again that could have letters on them. And they let us do that overnight, as their last film came down before we closed the theater. It wasn t easy, but we were very lucky. It was the same thing with Casa Vega. They were all places that Quentin goes to, and they love him as a client and as a filmmaker. That helped a lot.Once Upon A Time in Hollywood is available now for purchase on Blu-Ray and VOD.Like this? 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游戏时长 0.7小时

Ghcxuf In the lead up to Avengers: Endgame, we invited fans to take part in a mammoth survey to find out your favorite movies, characters, and moments from the Marvel Cinematic Universe – so far! Hundreds of Rotten Tomatoes fans took part, weighing in on their favorite Avengers, their favorite villains, their most heartbreaking Infinity War deaths, and which post-Endgame movie they re most excited to see. (Because it may be the endgame this week, but the MCU will go on). We dug deep into the data to spot some fun trends, seeing if there were divides along gender lines (ladies love M Baku, who d have thunk it!?) and generations (our Millennial/Non-Millennial split told us a bunch). Check out the results and major findings below, and let us know your own answers in the comments section.Captain America and Iron Man Tie for Favorite Avenger With 53%, While Ladies Love Thor(Photo by @ Walt Disney Studios Motion Pictures, @ Marvel Studios)In one of our survey’s most unsurprising results, the two Avengers whose relationship underpins the entire MCU came out on top when we asked Who Is Your Favorite Avenger? Some 53% of fans cast votes for Tony Stark and Steve Rogers; Thor came in a close third with 50% of respondents naming him one of their favorites.Cap was the clear overall favorite when it came to younger fans: 64% of Millennials named him one of their favorites (compared with 55% for Iron Man). Female fans were slightly less into Steve, though, with 44% of female respondents saying he was a favorite, compared with 59% of males. For the ladies, it was all about the God of Thunder: Thor got the highest percentage of female votes, with 55% of female respondents designating the Asgardian one of their most beloved heroes.Spidey was surprisingly divisive, both between the sexes and among generations. While 46% of male fans called Peter Parker one of their favorite Avengers, just 29% of female fans did the same. Not surprisingly, the youngest Avenger has some serious Millennial appeal, getting 44% of Millennials to name him a fave, compared with 36% of Non-Millennials.The top nine favorites in our survey were all characters who have had standalone MCU films (Hulk, whose standalone film did not star Mark Ruffalo, came in last amongst those). The bottom eight have not had their own films, although one is on the way for Black Widow (ranked 10th), and Scarlet Witch, Vision, Bucky Barnes, and Falcon will all appear in limited series on Disney+.Here are the full results from the question, Who Is Your Favorite Avenger? (Note, people could vote for multiple characters.)Iron Man 53%Captain America   53%Thor 50%Spider-Man 39%Doctor Strange 30%Black Panther 29%Ant-Man 29%Captain Marvel 25%Hulk 23%Black Widow 18%Hawkeye 13%Scarlet Witch 13%Vision 10%Bucky Barnes 9%Falcon 7%Quicksilver 6%War Machine 6% 😈😈


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After directing a series of absurd comedies starring Will Ferrell like the Anchorman movies, Talladega Nights, and Step Brothers, Adam McKay took a soft turn into more adult territory with 2015 s The Big Short, an unusual and inventive look at the housing bubble that led to the 2008 financial crisis. This week marks the next step in his evolution, as he tackles the rise to power of former U.S. Vice President Dick Cheney with similar storytelling panache in Vice, starring Christian Bale as the enigmatic veep, Amy Adams as his wife Lynne, Steve Carell as Donald Rumsfeld, and Sam Rockwell as George W. Bush. Critics say McKay s irreverent tone sometimes feels like a mismatch for the serious material the film covers, but it s nevertheless an ambitious undertaking that s made better by strong performances from its A-list cast especially Bale, who disappears into the role under eerily spot-on makeup and more than a few extra pounds. While it may not be as incisive or amusing as The Big Short, Vice is still worth a watch for a glimpse into the life of a famously unknowable man. Best Supporting Actress(Photo by @ Annapurna)Career Tomatometer average for winners: 55%Recent films Tomatometer average for winners: 55.8%Average number of films winners had appeared in: 22Best place to be ranked on the Tomatometer: 3rd of 5Tomatometer average of winning films in this category: 81.3%Tie: Regina King  If Beale Street Could Talk / Emma Stone  The Favourite Tomatometer Prediction: Regina King  If Beale Street Could TalkThis was the most hotly contested category as Regina King and Emma Stone each collected four points according to the methodology: they ve both made a similar number of movies (King with 22, Stone with 21) and earned similar career Tomatometer averages (King at 52.5%, Stone at 60.1%). To break the tie, we dug into recent Best Supporting Actress trends and discovered that first-time Academy Award nominees have won 12 of the last 18 Academy Awards in this category. This gives first-time nominee King an advantage over Oscar-winner and multiple nominee Emma Stone. Between that and the fact that King’s 52.5% career Tomatometer average is closer to the 55% career Tomatometer average of the last 18 winners, we re giving the Tomatometer s prediction officially to King for her work in If Beale Street Could Talk.Best Supporting ActorCareer Tomatometer average for winners: 60%Recent films Tomatometer average for winners: 51.1%Average number of films winners had appeared in: 34.5Best place to be ranked on the Tomatometer: 2nd out of 5Tomatometer average of winning films in this category: 89.2%Tie: Sam Elliott  A Star in Born / Sam Rockwell  ViceTomatometer Prediction: Sam Elliott  A Star is Born In a battle of the Sams, whose career Tomatometer averages are both extremely close to those of prior winners in the category (Sam Elliott at 61.9%, Sam Rockwell at 62%; the category average is 60%), we decided to go with Elliott, because A Star is Born has an 89% Tomatometer score that matches up perfectly with the 89% Tomatometer average of the past 18 winners s films in the Supporting Actor category.Further building Elliott’s case: No actor has won a Best Supporting Actor, in this century, when starring in a movie with a Tomatometer score in the 60s. This probably means bad news for Sam Rockwell, who is nominated for Vice (66% on the Tomatometer). Much like the Best Supporting Actress category, this award also tends to go to first-time nominees; 11 of the last 18 winners have been first-time nominees, with the last five Oscars going to first-timers Jared Leto, J.K. Simmons, Mark Rylance, Mahershala Ali, and Sam Rockwell.That said, the Mahershala Ali train this year says the Tomatometer might not be quite on the money here.Best Actor(Photo by @ Warner Bros. )Career Tomatometer average for winners: 63.8%Recent films Tomatometer average for winners: 58.1%Average number of films winners had appeared in: 29.2Best place to be ranked on the Tomatometer: 2nd of 5Tomatometer average of winning films in this category: 87.2%Tie: Bradley Cooper A Star is Born / Christian Bale ViceTomatometer Prediction: Bradley Cooper  A Star is BornRami Malek and Christian Bale are the clear front runners for this award, but the Tomatometer says otherwise, since no lead actor this century has won an Oscar for starring in a movie with a Tomatometer score in the 60s. Because of this, we’re giving the Tomatometer s nod to Bradley Cooper over Christian Bale.We also took into consideration that A Star is Born has an 89% Tomatometer score, which is the closest of the five nominees movies to the 87.2% Tomatometer average of the past 18 winning movies in this category. Another possible contributing factor for Cooper is that he has appeared in 32 films (the average number for past winners is 29) and A Star is Born is the highest Tomatometer-rated film in the category. Top-rated films in this category win more often than the fourth-ranked films, which is where Vice sits (4 wins compared with 2 wins), which helps give Cooper the advantage.Best ActressCareer Tomatometer average for winners: 59.1%Recent films Tomatometer average for winners: 58.1%Average number of films winners had appeared in: 21.9Best place to be ranked on the Tomatometer: 2nd out of 5Tomatometer average of winning films in this category: 82.5%Tomatometer Prediction: Glenn Close The WifeGlenn Close is the only actor to avoid a tie, according to our system. Why? Close’s career Tomatometer score is 60.2%, which matches up almost perfectly with the 59.1% career Tomatometer averages of recent winners. Also, The Wife is currently at 85%, which is good news for Close because, of all the acting categories, Best Actress has the most winners with films in the 80s on the Tomatometer. On top of that, the average of the winning movies is 82.5%, which is very close to the 85% Tomatometer score for The Wife.Best DirectorCareer Tomatometer average for winners: 80.1%Recent films Tomatometer average for winners: 76.3%Average number of films winners had directed: 9.7Best place to be ranked on the Tomatometer: 3rd of 5Tomatometer average of winning films in this category: 90.5%Tomatometer Prediction: Alfonso Cuarón RomaAlfonso Cuarón won this category based on his career Tomatometer average (83%) and the number of films he has directed (8) being closest to the numbers of the past 18 winners. It also helps that Roma has a 96% Tomatometer score, which gels nicely with the 14 other victorious movies released since 2000 that have a 90%-or-more Tomatometer score. Considering the BAFTA, Director’s Guild, and Critic’s Choice awards he has won this season, we think the Tomatometer is going to get this prediction right.Best Picture (Photo by @ Netflix)Tomatometer average for winning films: 90.2%Tomatometer average for winning films since 2010: 94.8%Best place to be ranked on the Tomatometer: 2ndTomatometer Prediction: RomaSince we only looked at the 18 prior winning movies, we didn’t focus on career Tomatometer averages for this category. Instead, we looked at Tomatometer ranking and scores.The average Tomatometer score for Best Picture winners since 2000 is 90.2%, with 14 of the last 18 winners scoring 90% or above on the Tomatometer. At 96%, Roma meets that threshold and then some. What sealed the deal for Roma is that its Tomatometer score is the second-highest of all the nominees in the category (only Black Panther scored higher at 97%), and eight of the past 12 winners have also been no. 2 by Tomatometer.That said, BlacKkKlansman also scored 96% on the Tomatometer, which ties it for second with Roma, so why did we choose the latter? We went with Roma because it s ranked no. 31 and BlacKkKlansman is ranked no. 39 on Rotten Tomatoes Best of 2018 list, which takes the number of reviews into consideration. When it came to the tie-breaker, we handed it over to the people who make up the Tomatometer: the critics.There you have it. The Tomatometer predicted the winners and we’re hoping we’re able to get at least four of these right so we have a ‘Fresh’ average.Let us know who you think should win in the comment section.



亚博下载安装 (Photo by Jamie McCarthy/Getty Images for STARZ)Ella Purnell splashed on the scene with a standout role in Tim Burton s Miss Peregrine s Home for Peculiar Children and has since appeared, with Bill Nighy and Matthew Goode, in the critically acclaimed Ordeal By Innocence, which was Certified Fresh at 94% on the Tomatometer and U.S. audiences saw on Amazon. She also played teen Maleficent in the 2014 live-action Disney film that starred Angelina Jolie as the titular Sleeping Beauty villain.The actress is all grown up now and starring as Tess, a 22-year-old who tackles the competitive New York City restaurant scene, in Starz drama Sweetbitter. At the end of the first season, Tess got her coveted job in Howard’s (Paul Sparks) restaurant, which was only the beginning of the drama for Purnell s character.In the season 2 premiere, Howard takes his staff to a farm to see where the food they prepare comes. It seems to affect Tess deeply, and she starts calling some of the chefs out on their cavalier attitude toward their ingredients. There also might be a bright spot in her relationship with Simone (Caitlin FitzGerald) — but how long can it last?When Rotten Tomatoes caught up with Purnell, she told us of her love for Phoebe Waller-Bridge s work and what s in store for her character in season 2.WHAT’S ON YOUR DVR?(Photo by BBC America)I don’t generally watch that much live TV because I’m always in different time zones and traveling around so much. I can tell you which TV shows I watch every single night religiously when I binge-watch them.My first one has to be Killing Eve, because it’s incredible. I’m obsessed with it. I’m obsessed with Jodie Comer. I’m obsessed with Sandra Oh. I’m really fascinated by shows with female leads, written by females. I know season 1 was Phoebe Waller-Bridge. I don’t think she did the second season, but I still really like the second season. I’ll be intrigued to see where they go after this. I actually first heard about Killing Eve when I was doing press for Sweetbitter because everybody kept comparing Tess and Simone to Villanelle and Eve. That’s how I got into it and they are pretty similar. I love the way that relationship is built.WHAT’S ON YOUR STREAMING QUEUE?(Photo by Steve Schofield/Amazon Prime)Fleabag. I love it. It’s too short though. I need more than six episodes, because it’s so addictive. I think I binge-watched the whole first season in one night. It’s so brilliant. The humor is amazing, and it’s interesting once you know that Phoebe is involved in both [Fleabag and Killing Eve]. You can absolutely recognize her writing style and the way she brings characters to life. It’s super unique and so smart. She’s brilliant.There is a show that I can’t stop watching. It’s called Easy. I think that show’s been on for a while, but it just hit Netflix, so I’ve only just kind of discovered it. It’s set in Chicago, and each episode is like an anthology series. It starts off as an anthology series, but I think halfway through season 1 you get to meet the characters from episode one again later. Then by season 2 and season 3, you’re following the same four or five story lines except for then they add new story lines every other episode. Each one is different, but it kind of all centers around relationships, friendships, marriages, couples, all sexualities, all genders. It’s so interesting, all ages. Evan Jonigkeit, who plays Will in Sweetbitter, is on Easy. I was watching the show and I was like, Oh, that’s Evan. And I texted him, “I love your show.” I think it’s all mostly improv and the guys that do it are just like friends who get together and make this thing. It’s such a cool concept, I love it.My last one is Black Mirror. I am always obsessed with Black Mirror. I will watch it. I watched it last night. I rewatch episodes, and every time I rewatch an episode, I learn something new. I’m obsessed with Black Mirror.And Mrs. Maisel — I have to say that.That’s my top five.WHAT’S COMING SOON THAT YOU CAN’T WAIT FOR?(Photo by Jennifer Clasen/HBO)Oh, I haven’t seen Big Little Lies yet. I loved the first season and I love Meryl Streep, so I would say Big Little Lies season 2. The Crown season 3 and 4, I think, have finished filming already. Maybe they haven’t finished yet, but  Olivia Colman and Helena Bonham-Carter are two of my top five favorite actresses, so I cannot wait to watch that. Really excited for that one.(Photo by Starz)Fred Topel for Rotten Tomatoes: Is visiting the farm a game changer for Tess?Ella Purnell: Definitely. I think it’s pretty symbolic of them switching it up. It’s a way of Howard switching things up in the restaurant industry, making everyone aware that sh ’s about to change. But for Tess, it’s also like, Hey, don’t think that just because you’ve got the job that you’re done. That happening wakes her up, I think, from any idea of complacency. Also her reaction to it surprises herself; her curiosity and interest in it reminds her not to underestimate herself and it reminds her that there’s so much stuff she hasn’t seen, so much stuff she hasn’t experienced.It seems to change her attitude in the kitchen. Will that continue?Oh, definitely. Absolutely, yeah. In part, it’s having a better understanding and appreciation for dining as a whole experience, but also the intensity behind it. I think it’s a good reminder to Tessa, like it’s a job. This is kind of each man for himself out there, and I think that becomes apparent in the last scene of the season with a scene between Tess and Howard. She does something really ballsy, really ballsy. And it’s really interesting. I’m really interested to see what people make of that last scene. It’s dramatic.(Photo by Starz)Does Tess and Simone’s relationship become more harmonious?Yeah, I would say so. Well, no, actually. For like a brief second. Episode two they have an incredible bonding experience. You find out a bit more about Tess’s backstory and Tess’s mother and perhaps get an inkling as to why she’s so attracted to Simone, what their relationship is about. I don’t really know. It’s painful. I’m really interested in the relationship. I’m really interested in female relationships in general. I think she’s just as in love with Simone as she is with Jake, so she’s hypersensitive to any changed or nuances in their relationship. I think it’s really painful for Tess.Does Tess’ journey in the restaurant industry have any parallels to yours as an actor?Definitely. I always think it’s so funny how art imitates life in a weird way. Definitely last year was so funny because it was my first time in New York. It was my first time doing TV. So everything she was doing, everything she was experiencing, I was experiencing too for the first time. I’d never worked in this industry, and I was thrown into this new industry. What I mean by that is movies and TV, American television is totally different from anything I’ve ever done, so I was thrown into this thing that I was trying to figure out and keep up with and look like I knew what I was doing in the same way that Tess is. And then the gratification it gives you when you seize life for all its worth is incredible. I moved to New York after we finished filming, and I feel like it’s changed my life, not in a cheesy corny way, but genuinely changed the course of my life.Sweetbitter new episodes air Sundays on Starz.

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