Movies

Meg Ryan is back after a "giant break"

Meg Ryan is back and she has spilled it all, ahead of her first rom-com release in nearly 15 years. In an interview with People Magazine, the When Harry Met Sally star revealed the reason why she took a step back from her career. "I took a giant break because I felt like there's just so many other parts of my experience as a human being I wanted to develop," she told the outlet. "It's nice to think of it as a job and not a lifestyle. And that is a great way of navigating it for me." The 61-year-old also shared the inspiration behind her first rom-com What Happens Later, which she directed, wrote and starred in. "It came to me during lockdown," she gushed. "The essence of it is these two people who are stuck together. I just love that idea that we're held in a space, even if it feels conflicted, maybe for reasons that heal them." This is the first rom-com that she has acted in for over a decade, with her last film in that genre being Serious Moonlight back in 2009. In another another conversation with Interview magazine's Carol Burnett, she opened up about the process of making her film. "Truly, the easiest part was acting in it," she told the publication. "I want to direct again just so I can sit in the chair, because I’m sure there’s a lot of things I missed." "I hadn’t done a role in a really long time, but it was fun with David," she added, referring to co-star David Duchovny, known for his role as Fox Mulder in The X Files. "A lot of it was done in two shots. I’m proud of that. I set up everything beforehand so that once we were there, it was just David and I trying to tell the truth." She revealed that the film was assembled together with a very "deliberate" process and a budget of only $3 million. "We had to do it really quickly. A lot of those extras weren’t even ours, they were real people," she said. "We went back in post and made everybody the same palette. There’s a lot of stuff you can do digitally now, thank god." The actress first shot to fame in 1980 for her girl-next-door image, after playing the love interest in iconic films like the original Top Gun and When Harry Met Sally. Images: Getty Images/ Edward Berthelot/WireImage

Movies

Oprah reveals measly salary from The Color Purple

Oprah Winfrey has shared the shockingly low salary she received for starring in the 1985 film The Color Purple. Ahead of the release of the reimagined movie musical, Oprah opened up about the experience making the original film, and the measly salary she received for her role. She revealed that “they were only offering $35,000 (A$55,500) to be in this film,” but she deemed it “the best $35,000 [she] ever earned.” “It changed everything and taught me so much,” she said. “It is God moving through my life.” The film was a global sensation, grossing nearly $100 million in 1985 dollars (the equivalent of $286 million when adjusted for inflation) and earning 11 Academy Award nominations, including Best Supporting Actress for Winfrey. In an interview with Essence conducted between Winfrey, who is an executive producer on the upcoming film adaptation, and some members of the new cast before the SAG-AFTRA strike, Winfrey said that she couldn’t “even begin to tell [them] what it means to [her]” that they chose to take on this project. “A person who wanted nothing more in my life than to be in The Color Purple,” she continued. “God taught me to surrender — that was the big lesson for me.” During the interview, Danielle Brooks, who is taking on Winfrey’s iconic role of Sofia in the adaptation, thanked Winfrey for “laying the blueprint for Sofia.” “Because I know that she’s changed your life, and I can feel that mine is about to shift, too,” she added. “Thank you for leaving space for me but also being there, to hold my hand and answer that phone call when I needed you. You have been such a light, such a beautiful soul.” Image credits: Getty Images

Movies

Martin Scorsese exposes Leo DiCaprio’s irritating on-set habit

Martin Scorsese has exposed Leo DiCaprio’s irritating on-set habit that came to light while the pair were filming the new movie Killers of the Flower Moon. The award-winning director called out the A-list actor in a conversation with the <a href="https://www.wsj.com/style/martin-scorsese-killers-flower-moon-b4989f0c" target="_blank" rel="noopener">Wall Street Journal</a>, saying that the Titanic star tends to flesh details out and improv while filming, describing his technique as “endless, endless, endless!” Although Scorsese and DiCaprio have worked together on six other films, there was one more actor on the set of the new film that could not stand the ad libbing: Robert de Niro. “Then Bob didn’t want to talk,” Scorsese explained. “Every now and then, Bob and I would look at each other and roll our eyes a little bit. And we’d tell him, ‘You don’t need that dialogue.’” While de Niro wasn’t able to deal with DiCaprio’s improv, director Quentin Tarantino said the actor’s famous freakout scene as Rick Dalton in Once Upon a Time in Hollywood “wasn’t in the script,” but was brought to the table by DiCaprio himself, and took the film to another level. Despite the “endless” technique of DiCaprio’s acting, Scorsese said the actor was instrumental in the film’s success, after he helped determine that the film needed a rewrite in order to avoid being a “movie about all the white guys.” “It just didn’t get to the heart of the Osage,” DiCaprio told <a href="https://deadline.com/2023/05/martin-scorsese-interview-killers-of-the-flower-moon-leonardo-dicaprio-robert-de-niro-1235359006/" target="_blank" rel="noopener">Deadline</a> in May, with reference to the original script. “It felt too much like an investigation into detective work, rather than understanding from a forensic perspective the culture and the dynamics of this very tumultuous, dangerous time in Oklahoma.” Killers of the Flower Moon is in cinemas now. Image credits: Getty Images

Movies

How to make a perfect romcom – an expert explains the recipe for romance

<a href="https://theconversation.com/profiles/christina-wilkins-1454385">Christina Wilkins</a>, <a href="https://theconversation.com/institutions/university-of-birmingham-1138">University of Birmingham</a> Picture the scene: it’s a dreary weeknight evening, you’re tired from work, and you want to watch something that will pick you up. My guess is that some of you – perhaps more than would admit it – would pick a romantic comedy. Over the years the romcom has been designated as “chick flick”, dismissed at awards ceremonies (the best picture Oscar primarily goes to <a href="https://www.backstage.com/magazine/article/movie-genres-perform-best-oscars-2179/">drama films</a>) and frequently panned by critics. Yet, critics are not the only ones buying cinema tickets or watching streaming services. A 2013 <a href="https://archive.nytimes.com/economix.blogs.nytimes.com/2013/08/14/reviewing-the-movies-audiences-vs-critics/">article</a> from the New York Times found that the romcom was one of the genres most likely to divide audience and critical opinion. Like many other things that are classified as “women’s things”, the romcom is often spoken of as a “guilty pleasure”. Researchers such as Claire Mortimer, who <a href="https://www.routledge.com/Romantic-Comedy/Mortimer/p/book/9780415548632">writes about comedy</a> and women, argue that the dismissal is not just down to the genre’s <a href="https://stjohnslis.libguides.com/c.php?g=1277106&p=9378728">status as “women’s films”</a> but also because romcoms are genre films. Such films are often seen as repetitive – they rely on a number of tropes to be wheeled out again and again and we come to expect certain styles, stories and characters. Some films become key examples of a genre, a kind of “best of”, and form a template which the others either imitate or diverge from. That’s not to say that all romcoms are the same. But there’s a dominant form that we think of as being definitive, called the “neo-traditional romcom”. Tamar McDonald, a professor in film, <a href="https://books.google.co.uk/books?id=9Bk-mkvdPYcC&printsec=copyright&redir_esc=y#v=onepage&q&f=false">argues that</a> this is the main form of the genre now – one that “has no use for realism”. This can be seen in characters running through airports, the absurd lack of communication between love interests and the convenient mishaps. Without these elements though, the resolution wouldn’t be as sweet. <h2>The perfect romcom</h2> So what are the ingredients for a perfect romcom? Looking at the lists of the <a href="https://www.timeout.com/film/the-70-best-romcoms-of-all-time">best romcoms of all time</a> – which the internet <a href="https://www.vanityfair.com/hollywood/2018/08/best-romantic-comedies-list">isn’t short of</a> – we see similar tropes popping up repeatedly. One popular favourite, <a href="https://www.timeout.com/film/the-70-best-romcoms-of-all-time">When Harry Met Sally</a> (1989), features the “friends to lovers” storyline. This reoccurs in more recent films like <a href="https://www.youtube.com/watch?v=iHBcWHY9lN4">Always Be My Maybe</a> (2019). Within a romcom, there typically has to be miscommunication – and lots of it. Although a relationship can blossom steadily, often unknown to the characters themselves, romcoms usually feature a pivotal moment where one character is not understood by the person they want. This miscommunication is also underpinned by conflict. Leger Grindon, an expert <a href="https://www.google.co.uk/books/edition/The_Hollywood_Romantic_Comedy/okkZPTEnYqMC?hl=en&gbpv=1&dq=Leger+Grindon+rom+coms&printsec=frontcover%22%22">in romantic comedies</a>, breaks these kinds of conflict into three major fields: between parents and children, the two characters who are dating, or when someone has to choose between personal development and sacrifice. We’ve seen examples of all of three over the years. Children defying their parents’ wishes to be with someone they love is a common theme in the queer love story, like <a href="https://www.youtube.com/watch?v=h58HkQV1gHY">Happiest Season</a> (2020), but is also present in other films, like My <a href="https://www.youtube.com/watch?v=O2mecmDFE-Q">Big Fat Greek Wedding</a> (2002). <figure><iframe src="https://www.youtube.com/embed/O2mecmDFE-Q?wmode=transparent&start=19" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>My Big Fat Greek Wedding hinges on conflict between family and love.</figcaption></figure> Conflict between the needs of the love interests can be seen in <a href="https://www.youtube.com/watch?v=zZKAA5DRF4A">What Women Want</a> (2000). And the conflict between personal development and sacrifice has been a common theme of many recent Netflix romcoms such as <a href="https://www.youtube.com/watch?v=MX6wAGuIMCg">Hello, Goodbye and Everything in Between</a> (2022) or <a href="https://www.youtube.com/watch?v=km7gv28_uX0">The Holiday Calendar</a> (2019). In Hallmark Christmas films (their own sub-genre of the romcom) like <a href="https://www.youtube.com/watch?v=GWKYnKGN8OA">Just In Time for Christmas</a> (2015), women often have to choose between their career and their relationship, a common recurrence for the Christmas sub-genre especially. Romcoms can provide escapism, but at their heart the glue of the genre is finding connection through love and laughter. How realistic this is may be shifting, with more recent examples in film and television providing more cultural critique (see comedian Rose Matafeo’s brilliant <a href="https://www.youtube.com/watch?v=AtHC1VmrNXM">Starstruck</a> series, streaming on BBC Three for example). The parameters for the characters of these stories are also changing. Once predominantly white and straight, the genre is opening up to a range of different stories. Recent examples like <a href="https://theconversation.com/red-white-and-royal-blue-review-this-queer-romcom-puts-a-new-spin-on-the-us-and-uks-special-relationship-211533">Red, White, and Royal Blue</a> (2023) and <a href="https://www.imdb.com/title/tt9731598/">Bros</a> (2022) put gay male romance front and centre, while <a href="https://www.imdb.com/title/tt15893750/">Rye Lane</a> (2023) and <a href="https://theconversation.com/crazy-rich-asians-a-movie-and-a-movement-101568">Crazy Rich Asians</a> (2018) foreground non-white protagonists. Perhaps this is because – as <a href="https://www.routledge.com/Romantic-Comedy/Mortimer/p/book/9780415548632">Mortimer</a> argues – the genre is concerned with “perennial themes” of love and identity. In a moment where definitions and understandings of identity are shifting, the romcom provides an ideal place to think through these issues in a comforting way. Or perhaps we just need the optimism we associate with the genre at a time of war and economic crisis. Although there may be classics and new challengers emerging for the title of the best, the perfect romcom is one that shows that, despite all the challenges life may throw at us, there is sometimes a happy ending. <a href="https://theconversation.com/profiles/christina-wilkins-1454385">Christina Wilkins</a>, Lecturer in Film and Creative Writing, <a href="https://theconversation.com/institutions/university-of-birmingham-1138">University of Birmingham</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/how-to-make-a-perfect-romcom-an-expert-explains-the-recipe-for-romance-212487">original article</a>.

Movies

"His worst moment as a person": Sean Penn unleashes on Will Smith's Oscar's slap

Sean Penn has become visibly angry as he recalled the infamous moment at the 2022 Oscars ceremony when Will Smith stormed the stage to slap Chris Rock. Penn recalled the award ceremony moment as he reflected on the Academy's decision to not let Ukraine’s president, Volodymyr Zelenskyy, speak at the ceremony. The actor has been a strong advocate for the people of Ukraine in their ongoing war against Russia, and even traveling to the war-torn region to help in their fight. Speaking to <a href="https://variety.com/2023/film/features/sean-penn-slams-will-smith-slap-ai-oscars-1235720417/" target="_blank" rel="noopener">Variety</a>, Penn shared how frustrated he was that Zelenskyy was silenced, while Smith's actions were the real problem. “The Oscars producer thought, ‘Oh, he’s [Zelenskyy] not lighthearted enough.’ Well, guess what you got instead? Will Smith.” Variety noted that the actor was visibly infuriated speaking on the subject, even turning red during the interview. “I don’t know Will Smith. I met him once,” Penn said. “He seemed very nice when I met him. He was so f***ing good in King Richard.” “So why the f**k did you just spit on yourself and everybody else with this stupid f***ing thing? Why did I go to f***ing jail for what you just did? And you’re still sitting there? Why are you guys standing and applauding his worst moment as a person?” the 63-year-old said, referencing his 1987 arrest and jail stint for punching a film extra in the face. “This f***ing bulls**t wouldn’t have happened with Zelenskyy,” Penn added. “Will Smith would never have left that chair to be part of stupid violence. It never would have happened.” Penn was so shocked and infuriated by the moment that he chose to destroy his two Oscars. "I thought, ‘Well, f**k, you know? I’ll give them to Ukraine. They can be melted down to bullets they can shoot at the Russians,’” he said. When visiting Zelenskyy in Ukraine last fall, Penn showed his support by giving the leader one of his Oscars. At the 2022 Oscar's ceremony, Will Smith stormed the stage and slapped comedian Chris Rock after he made a joke about his wife, Jada Pinkett-Smith. After returning to his seat, Smith shouted out, “Keep my wife’s name out your f***ing mouth!” Image credits: Getty Images

Movies

Priscilla Presley's reaction to movie based on her life

Priscilla Presley has shared how "emotional" she became after watching the new movie based on her life with her late rock star husband. The 78-year-old attended the premiere of the new film Priscilla, which was based on her 1985 memoir Elvis & Me. Priscilla took to the red carpet at the Venice International Film Festival on September 4th alongside director Sofia Coppola and the cast. "It was very difficult to sit and watch a film about you, about your life, about your love," she explained at a media call following the premiere screening. "Sofia did an amazing job. She did her homework, we spoke a couple of times and I really put everything out for her that I could," she added. Priscilla went on to explain why she thought her love story was so intriguing to a public audience, as she spoke about the early days of her relationship with the late rock star. "It was very difficult for my parents to understand that Elvis would be so interested in me and why, and I really do think [it was] because I was more of a listener," she said. "Elvis would pour his heart out to me in every way in Germany: his fears, his hopes, the loss of his mother which he never, ever got over. And I was the person who really, really sat there to listen and to comfort him. That was really our connection." She continued, "Even though I was 14, I was actually a little bit older in life, not in numbers. That was the attraction. People think, 'Oh, it was sex.' No, it wasn't. I never had sex with him. He was very kind, very soft, very loving, but he also respected the fact I was only 14 years old." Euphoria star and Aussie actor Jacob Elordi plays Elvis in the new film, with Cailee Spaeny in the title role of Priscilla, which traces Priscilla's early years and relationship with the music icon. Elvis Presley estate officials reportedly slammed the movie, with <a title="TMZ" href="https://www.tmz.com/2023/06/22/elvis-presley-estate-officials-slam-priscilla-movie/" target="_blank" rel="noopener">TMZ</a> claiming unnamed officials were displeased with news of the production, labelling it a "money grab." Image credits: Getty Images

Movies

Beyond Barbie and Oppenheimer, how do cinemas make money? And do we pay too much for movie tickets?

<a href="https://theconversation.com/profiles/peter-martin-682709">Peter Martin</a>, <a href="https://theconversation.com/institutions/crawford-school-of-public-policy-australian-national-university-3292">Crawford School of Public Policy, Australian National University</a> I’ve got two questions about blockbuster movies like Barbie and Oppenheimer. <ol> <li> Why aren’t the cinemas charging more for them, given they’re so popular? </li> <li> Why are they the same price, given Oppenheimer is an hour longer? </li> </ol> The opening weekend <a href="https://www.smh.com.au/culture/movies/how-australian-cinemas-and-audiences-handled-the-barbenheimer-juggernaut-20230724-p5dqso.html">for both films</a> saw an avalanche of Australians returning to the cinema. Extra staff had to be put on (although probably not enough) to manage queues, turn away pink-clad fans who couldn’t get in, and clean up mountains of popcorn trampled underfoot. An obvious solution to such a rush of demand is to push up prices. Airlines do it when they are getting low on seats. When more people want to get a ride share, Uber makes them pay with “<a href="https://www.uber.com/au/en/drive/driver-app/how-surge-works/">surge pricing</a>”. Even books are sold at different prices, depending on the demand, their length, their quality and how long they’ve been on the shelves. But not movie tickets, which are nearly always the same price, no matter the movie. Why? And how much has the cost of a trip to the movies risen over the past 20 years? <h2>Why not charge more for blockbusters?</h2> In suburban Melbourne, Hoyts is charging $24.50 for the two-hour Barbie – the same as it is charging for the three-hour Oppenheimer, even though it could fit in far fewer showings of Oppenheimer in a day. It’s also the same price as it is charging for much less popular movies, such as Indiana Jones and the Dial of Destiny. It’s also how things are in the United States, where James Surowiecki, author of <a href="https://www.penguinrandomhouse.com/books/175380/the-wisdom-of-crowds-by-james-surowiecki/">The Wisdom of Crowds</a> blames convention and says "it costs you as much to see a total dog that’s limping its way through its last week of release as it does to see a hugely popular film on opening night." Australian economists Nicolas de Roos of The University of Sydney and Jordi McKenzie of Macquarie University quote Surowiecki in their <a href="https://www.sciencedirect.com/science/article/abs/pii/S0167718714000174">2014 study</a> of whether cinema operators could make more by cutting the price of older and less popular films and raising the price of blockbusters. By examining what happened to demand on <a href="https://www.eventcinemas.com.au/Promotions/HalfPriceTuesdays#cinemas=59">cheap Tuesdays</a>, and developing a model taking into account advertising, reviews and the weather, they discovered Australian cinemas could make a lot more by <a href="https://www.sciencedirect.com/science/article/abs/pii/S0167718714000174">varying their prices</a> by the movie shown. We turn out to be highly price sensitive. So why don’t cinemas do that? <h2>‘There’s a queue, it must be good’</h2> It’s the sort of thing that puzzled <a href="https://www.nobelprize.org/prizes/economic-sciences/1992/becker/biographical/">Gary Becker</a>, an economic detective of sorts who won the Nobel Prize for Economics in the early 1990s. A few years earlier, he turned his attention to <a href="https://www.jstor.org/stable/2937660">restaurants</a> and why one particular seafood restaurant in Palo Alto, California, had long queues every night but didn’t raise its prices. Across the road was a restaurant that charged slightly more, sold food that was about as good, and was mostly empty. His conclusion, which he used a lot of maths to illustrate, was there are some goods for which a consumer’s demand depends on the demand of other consumers. Queues for restaurants (or in 2023, long queues and sold out sessions, as crowds were turned away from Barbie) are all signals other consumers want to get in. This would make queues especially valuable to the providers of such goods, even if the queues meant they didn’t get as much as they could from the customers who got in. The “buzz” such queues create produces a supply of future customers persuaded that what was on offer must be worth trying. Importantly, Becker’s maths showed that getting things right was fragile. It was much easier for a restaurant to go from being “in” to “out” than the other way around. Once a queue had created a buzz, it was wise not to mess with it. <h2>Cashing in from the snack bar</h2> There are other reasons for cinemas to charge a standard ticket price, rather than vary it movie by movie. One is that it is hard to tell ahead of time which movies are going to soar and which are going to bomb, even if you spend a fortune on advertising as the <a href="https://variety.com/2023/film/box-office/barbie-marketing-campaign-explained-warner-bros-1235677922/">makers of Barbie did</a>. In the words of an insider, “<a href="https://variety.com/2018/film/opinion/william-goldman-dies-appreciation-1203030781/">nobody knows anything</a>.” Another is the way cinemas make their money. They have to pay the distributor a share of what they get from ticket sales (typically <a href="https://www.sciencedirect.com/science/article/abs/pii/S0167718714000174">35-40%</a>). But they don’t have to pay a share of what they make from high-margin snacks. This means it can make sense for some cinemas to charge less than what the market will bear – because they’ll sell more snacks – even if it means less money for the distributor. <h2>Rising prices, despite some falling costs</h2> But cinemas still charge a lot. From 2002 to 2022, Australian cinemas jacked up their average (not their highest) prices <a href="https://www.screenaustralia.gov.au/fact-finders/cinema/industry-trends/box-office/ticket-prices">from $9.13 to $16.26</a> – an increase of 78%. In the same 20 year period, overall prices in Australia, as measured by the <a href="https://theconversation.com/whats-in-the-cpi-and-what-does-it-actually-measure-165162">consumer price index</a>, climbed 65% – less than the rise in movie ticket prices. <hr /> <iframe id="E2kxi" class="tc-infographic-datawrapper" style="border: none;" src="https://datawrapper.dwcdn.net/E2kxi/5/" width="100%" height="400px" frameborder="0"></iframe> <hr /> A 2015 study found Australian cinemas charge more <a href="https://www.researchgate.net/publication/306227560_Counting_the_cost_the_impact_of_cinema_ticket_prices_in_Australia">than cinemas in the US</a>. Yet some of the cinemas’ costs have gone down. They used to have to employ projectionists to lace up and change reels of film. Digital delivery means much less handling. A now-dated <a href="https://www.accc.gov.au/about-us/publications/developments-in-the-cinema-distribution-exhibition-industry">1990s report</a> to the Australian Competition and Consumer Commission found the two majors, Hoyts and Greater Union/Village, charged near identical prices except where they were faced with competition from a nearby independent, in which case they discounted. Whether “<a href="https://www.accc.gov.au/system/files/The%20Cinema%20Industry.pdf">by design or circumstance</a>”, the two cinema chains rarely competed with each other, clustering their multiplexes in different geographical locations. <h2>Longer films no longer displace shorter films</h2> I think it might be the multiplex that answers my second question: why cinemas don’t charge more for movies that are longer (and movies are <a href="https://www.smh.com.au/culture/movies/bigger-than-ben-hur-why-movies-are-getting-longer-and-longer-20220322-p5a6ty.html">getting longer</a>). In the days of single screens, a cinema that showed a long movie might only fit in (say) four showings a day instead of six. So it would lose out unless it charged more. But these days, multiplexes show many, many films on many screens, some of them simultaneously, meaning long films needn’t displace short films. Although we have <a href="https://www.screenaustralia.gov.au/fact-finders/cinema/industry-trends/screens-and-theatres">fewer cinema seats</a> than we had a decade ago (and at least until the advent of Barbie, we’ve been <a href="https://www.screenaustralia.gov.au/fact-finders/cinema/industry-trends/screens-and-theatres">going less often</a>) we now have <a href="https://www.screenaustralia.gov.au/fact-finders/cinema/industry-trends/screens-and-theatres">far more screens</a>. Long movies no longer stop the multiplexes from playing standard ones. And because cinemas like to keep things simple, you pay the same price, no matter which movie you chose. <img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/211121/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/peter-martin-682709">Peter Martin</a>, Visiting Fellow, <a href="https://theconversation.com/institutions/crawford-school-of-public-policy-australian-national-university-3292">Crawford School of Public Policy, Australian National University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/beyond-barbie-and-oppenheimer-how-do-cinemas-make-money-and-do-we-pay-too-much-for-movie-tickets-211121">original article</a>.

Movies

5 memorable locations from ‘80s films to check out

Everyone loves a good movie, and everyone loves a holiday, so what do you get when you combine the two? The time of your life! It’s widely known that the ‘80s spawned a whole host of films that went on to become cult classics - from the likes of Heathers to Footloose, Dirty Dancing, and The Terminator - and forged the way for cultural changes that ring true decades later. But did you also know that for many of these iconic films, real-life locations served as the inspiration for many memorable scenes? And while some may have changed slightly in the years since cast and crew flocked to them, some are like stepping into a time capsule - or a stage for you to re-enact the films as you see fit. Lake Lure, North Carolina - Dirty Dancing (1987) Anyone who’s seen Dirty Dancing can tell you that ‘the lift scene’ is one of the film’s most iconic moments. And it - along with a few others from the film - were filmed in North Carolina’s very own Lake Lure. And with the spot boasting its very own Lake Lure Inn & Spa - where, coincidentally, the movie’s stars stayed while working on the project - it could be the perfect getaway location for your next holiday. Guesthouse International Hotel, California - National Lampoon Vacation (1983) For those embarking on their very own National Lampoon Vacation, you’re in luck - the hexagonal pool is near exactly the same as it was when Chevy Chase’s Clark Griswold enjoyed a nighttime swim with Christie Brinkley’s The Girl in the Ferrari. New York Public Library, New York - Ghostbusters (1984) The 1984 film sparked an entire host of sequels, games, parodies, and conventions for avid fans across the globe - as well as one incredibly catchy song. However, for those that would like to go above and beyond just calling their friendly neighbourhood ghostbusters, the New York Public Library’s flagship Stephen A Schwarzman building is the spot where the team had their very first encounter with the film’s ghosts. Griffith Observatory, California - The Terminator (1984) Fans of The Terminator should immediately recognise this site as the one where Arnold Schwarzenegger’s Terminator arrived in the nude, and basked in the glory of LA at night. It’s a popular location, and while a must-see for fans of the film, it also makes for a good afternoon out - the observatory itself boasts free entry, stunning views, and a range of fascinating exhibits inside to entertain the keen mind. The Grand Hotel, Michigan - Somewhere in Time (1980) The Grand Hotel was the primary location for romantic drama Somewhere in Time, and they’re proud of it. In fact, a poster for the film is reportedly even still on display there, and hosts weekends of celebration for the 1980 hit, too. The island the hotel is set on doesn’t allow cars, so anyone hoping to throw themselves back in time and fully immerse themselves in a ‘different world’, this National Historic Landmark may be just the place to do it. Images: Getty, Booking.net

Movies

Is the Barbie movie a bold step to reinvent and fix past wrongs or a clever ploy to tap a new market?

<a href="https://theconversation.com/profiles/lauren-gurrieri-5402">Lauren Gurrieri</a>, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a> After a months-long marketing blitz, the much-hyped Barbie movie is released this week. From a <a href="https://news.airbnb.com/barbies-malibu-dreamhouse-is-back-on-airbnb-but-this-time-kens-hosting/">Malibu Barbie dreamhouse</a> listed on AirBnB, an AI tool that <a href="https://www.barbieselfie.ai/au/">transforms selfies into Barbie movie posters</a> and multiple Barbie-themed brand collaborations ranging from nail polish to roller skates, Barbie is everywhere. She has even gone viral as a fashion trend known as <a href="https://www.elle.com.au/fashion/barbiecore-27286">Barbiecore</a>, exploding across social media with people embracing vibrant pink hues and hyper feminine aesthetics. A Barbie world is upon us. Although some have criticised this <a href="https://twitter.com/MosheIsaacian/status/1673415496929267712">saturation</a> strategy, it is a very deliberate marketing ploy to revitalise and redefine a brand with a contested position and history. As well as attracting adults who grew up with Barbie and are curious to see what’s changed, the reinvention is drawing in those younger fans swept up by the tsunami of marketing and merchandise. Despite being one of the <a href="https://www.newsweek.com/brandspark-most-trusted-brands-america-2022">most trusted brands</a> with a value of approximately <a href="https://www.statista.com/statistics/1009126/barbie-brand-value-worldwide/">$US700 million</a>, Barbie has long attracted feminist criticism for fuelling outdated and problematic “plastic fantastic” sexist stereotypes and expectations. <h2>The Barbie backlash</h2> Only a few years back, Barbie was a brand in crisis. <a href="https://time.com/3667580/mattel-barbie-earnings-plus-size-body-image/">Sales plummeted</a> across 2011 to 2015 against the cultural backdrop of a rise in body positivity and backlash against a doll that represented narrow ideals and an impossible beauty standard. After all, at life-size Barbie represents a body shape held by <a href="https://link.springer.com/article/10.1007/BF01544300#page-1">less than 1 in 100,000</a> real people. In fact, she is so <a href="https://rehabs.com/explore/dying-to-be-barbie/#.UWs-5aKyB8F">anatomically impossible</a> that, if she were real, she would be unable to lift her head, store a full liver or intestines, or <a href="https://www.bmj.com/content/305/6868/1575">menstruate</a>. The backlash has also been in response to growing concerns about how she influences child development, particularly how and what children learn about gender. Barbie has been identified as a <a href="https://www.sciencedirect.com/science/article/pii/S1740144521000243#!">risk factor</a> for thin-ideal internalisation and body dissatisfaction for young girls, encouraging <a href="https://www.sciencedirect.com/science/article/abs/pii/S174014451630208X">motivation for a thinner shape</a> that damages body image and self esteem. And despite the multiple careers Barbie has held over the decades, research highlights that girls who play with Barbie believe they have <a href="https://link.springer.com/article/10.1007/s11199-014-0347-y">fewer career options than boys</a>. This speaks to the power of toys to reinforce gender stereotypes, roles and expectations, and how Barbie has imported narrow ideals of femininity, girlhood and womanhood into young girls’ lives. <h2>Reinventing a long-established icon</h2> In response to this backlash, Mattel launched a new range of Barbies in 2016 that were promoted as <a href="https://shop.mattel.com/collections/fashion-dolls#filter.ss_filter_tags_subtype=Fashionistas">diverse</a>, representing different body shapes, sizes, hair types and skin tones. This was not without criticism, with “curvy” Barbie still considered thin and dolls named in ways that drew attention foremost to their bodies. From a white, well-dressed, middle-class, girl-next-door with friends of a similar ilk, Barbie has since been marketed as a symbol of diversity and inclusion. To signify the extent of the transformation, Mattel’s executives gave this project the code name “Project Dawn”. Mattel - like many other brands joining the <a href="https://theconversation.com/victorias-secret-joins-the-inclusive-revolution-finally-realizing-diversity-sells-163955">“inclusivity revolution”</a> - knew that diversity sells, and they needed to make their brand relevant for contemporary consumers. Diversity initiatives included a line of <a href="https://shop.mattel.com/pages/barbie-role-models">female role model dolls</a>, promoted as “introducing girls to remarkable women’s stories to show them you can be anything”. Barbie was also given a voice in the form of <a href="https://www.youtube.com/playlist?list=PL5BsRl9zFaeSKIL4XD-pdGHGbJRvkfe8S">Barbie Vlogs</a>, where she expressed her views on issues including depression and the <a href="https://www.bustle.com/p/barbies-vlog-about-the-sorry-reflex-is-the-feminist-pep-talk-all-90s-babies-need-to-hear-9852366">sorry reflex</a>. A gender neutral collection called “creatable world” was added in 2019 to open up gender expression possibilities when playing with Barbies. Such efforts were crucial to undoing missteps of the past, such as a “Teen Talk Barbie” that was programmed to say “<a href="https://www.youtube.com/watch?v=jSL2-rbE9AM">Math class is tough!</a>”, or the compulsory heterosexuality that Barbie has long advanced. <h2>The latest step in Barbie’s transformation</h2> Barbie the film is simply the next step in an evolution to make brand Barbie inclusive. And with a rumoured film budget of $100 million, the supporting marketing machine provides a critical opportunity to reset the Barbie narrative. With Greta Gerwig, acclaimed director of female-led stories such as Little Women and Lady Bird at the helm, and a diverse cast of Barbies of different races, body types, gender identities and sexual preferences, the film and its creators have sought to assure audiences of the film’s feminist leanings. Addressing the complicated history of Barbie is crucial for audiences who grew up and played with the doll and are grappling with introducing her to the next generation of doll consumers. Yet, Robbie Brenner, executive producer of Mattel Films, has explicitly stated that Gerwig’s Barbie is “not a feminist movie”. Indeed, the main character still represents a narrow beauty standard - tall, thin, blonde, white - with diverse characters in place to support her narrative. Which begs the question: are these inclusion initiatives simply emblematic of diversity washing, where the language and symbolism of social justice are hijacked for corporate profit? Or do they represent a genuine effort to redress the chequered history of a brand that promotes poor body image, unrealistic ideals and rampant materialism? What is clear is that in today’s climate where brands are increasingly rewarded for taking a stand on sociopolitical issues, brand Barbie’s attempts to reposition as inclusive have paid off: sales are now booming. Seemingly, Barbie’s famous tagline that “anything is possible” has shown itself to be true.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/209394/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/lauren-gurrieri-5402">Lauren Gurrieri</a>, Associate Professor in Marketing, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/is-the-barbie-movie-a-bold-step-to-reinvent-and-fix-past-wrongs-or-a-clever-ploy-to-tap-a-new-market-209394">original article</a>.

Movies

‘Now I am become Death, the destroyer of worlds’: who was atom bomb pioneer Robert Oppenheimer?

<a href="https://theconversation.com/profiles/darius-von-guttner-sporzynski-112147">Darius von Guttner Sporzynski</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Robert Oppenheimer is often placed next to Albert Einstein as the 20th century’s most famous physicist. He will forever be the “father of the atomic bomb” after the first nuclear weapon was successfully tested on July 16, 1945 in the New Mexican desert. The event brought to his mind words from a <a href="https://www.wired.co.uk/article/manhattan-project-robert-oppenheimer">Hindu scripture</a>: “Now I am become Death, the destroyer of worlds”. <h2>Who was Robert Oppenheimer?</h2> Born in 1904 in an affluent New York family, Oppenheimer graduated from Harvard majoring in chemistry in 1925. Two years later, he completed his PhD in physics at one of the world’s leading institutions for theoretical physics, the University of Göttingen, Germany. He was 23 and enthusiastic to the point of alienating others. Throughout his life, Oppenheimer would be judged either as an <a href="https://www.google.com.au/books/edition/Inside_the_Centre/L9wRLVcUI-sC?hl=en&gbpv=1">aloof prodigy or an anxious narcissist</a>. Whatever his contradictions as an individual, his eccentricities did not limit his scientific achievements. Before the outbreak of the second world war, Oppenheimer worked at the University of California, Berkeley, and the <a href="https://www.google.com.au/books/edition/J_Robert_Oppenheimer_and_the_American_Ce/U12mDwAAQBAJ?hl=en&gbpv=1&dq=Robert+Oppenheimer:+A+Life+from+Beginning+to+End&printsec=frontcover">California Institute of Technology</a>. His research concentrated on theoretical astronomy, nuclear physics and quantum field theory. Although he confessed to being uninterested in politics, Oppenheimer openly supported socially progressive ideas. He was concerned with the emergence of antisemitism and fascism. His partner, Kitty Puening, was a left-leaning radical and their social circle included Communist Party members and activists. Later, these associations will mark him as a communist sympathiser. As a researcher, Oppenheimer published and supervised a new generation of doctoral students. One of these was Willis Lamb, who in 1955 was awarded the Nobel Prize in physics. The Nobel Prize eluded Oppenheimer three times. <h2>The second world war</h2> Two years after Germany and Soviet Russia attacked Poland, the United States entered WWII. Oppenheimer was recruited to work on the infamous <a href="https://www.history.com/topics/world-war-ii/the-manhattan-project">Manhattan Project</a>. His ideas about chain reaction in an atomic bomb gained recognition among the US defence community. He started his work by assembling a team of experts. Some of them were his students. In 1943, despite his left-wing political views, lack of high-profile career and no experience in managing complex projects, Oppenheimer was appointed director of the <a href="https://about.lanl.gov/oppenheimer/">Los Alamos National Laboratory in New Mexico</a>. He was enthusiastic. He seemed to have “<a href="https://www.google.com.au/books/edition/Inside_the_Centre/L9wRLVcUI-sC?hl=en&gbpv=1&dq=Rabi+%22reserves+of+uncommitted+strength%22&pg=PA670&printsec=frontcover">reserves of uncommitted strength</a>” recalled physicist <a href="https://www.nobelprize.org/prizes/physics/1944/rabi/biographical/">Isidor Isaac Rabi</a>. His task was to develop atomic weapons. <a href="https://www.britannica.com/topic/Los-Alamos-National-Laboratory">Los Alamos Laboratory</a> expanded rapidly as the project grew in complexity, with the personnel exceeding 6,000. His ability to master the large-scale workforce and channel their energy towards the needs of the project earned him respect. He proved to be more than just an administrator by being involved in the interdisciplinary team across theoretical and experimental stages of the weapons development. <figure><iframe src="https://www.youtube.com/embed/-JWxIVVeV98?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>The nuclear test</h2> On July 16, 1945 the nuclear test, <a href="https://armscontrolcenter.org/quotes-from-trinity-test-observers/">code named Trinity</a>, took place. The first atomic bomb was successfully detonated at 5:29 am in the Jornada del Muerto desert. As his chief assistant, Thomas Farrell, recounted: "There came this tremendous burst of light followed shortly thereafter by the deep growling roar of the explosion." Oppenheimer later <a href="https://www.google.com.au/books/edition/J_Robert_Oppenheimer/EoA8DwAAQBAJ?hl=en&gbpv=1&dq=%22A+few+people+laughed,+a+few+people+cried,+most+people+were+silent%22&pg=PA44&printsec=frontcover">recalled</a> that “a few people laughed, a few people cried, most people were silent”. What he knew for sure was that the world would not be the same. It was too late for the atomic bombs to be used against Germany in the war – the Nazis had capitulated on May 8. Instead, US President Harry Truman decided to use the bomb against Germany’s ally, Japan. Shortly after the atomic bombs were dropped on the Japanese cities of Hiroshima and Nagasaki in August 1945, Oppenheimer confronted the US secretary of war, Henry Stimson, demanding that nuclear weapons were banned. Similarly, when speaking with Truman, Oppenheimer talked about his feeling of <a href="https://washingtonmonthly.com/2020/07/11/when-truman-titled-a-hollywood-epic-and-then-sabotaged-it/">having blood on his hands</a>. Truman rejected Oppenheimer’s emotional outburst. The responsibility for the use of the atomic bombs, after all, rested with the commander in chief (himself). Truman’s rebuttal did not prevent Oppenheimer from advocating for the establishment of controls on the nuclear arms race. <h2>Arms control</h2> In the postwar years, Oppenheimer settled in Princeton, New Jersey, at the Institute for Advanced Study. He read widely. He collected art and furniture. He learned languages. His well-paid position enabled his pursuit of a deeper understanding of humanity though the examination of ancient scriptures. <a href="https://www.google.com.au/books/edition/American_Prometheus/F79LEAAAQBAJ?hl=en&gbpv=1&dq=Robert+Oppenheimer:+A+Life+from+Beginning+to+End&printsec=frontcover">He argued</a> for the unity of purpose between the sciences and humanities. Oppenheimer’s patronage supported and encouraged other scientists in their research. But his chief concern was the unavoidable arms race. He advocated for the establishment of an <a href="https://www.iaea.org/about/overview/history">international body that would control the development of nuclear energy</a> and its usage. In 1947, a civilian agency called the <a href="https://en.wikipedia.org/wiki/United_States_Atomic_Energy_Commission">Atomic Energy Commission</a> began its work. Oppenheimer urged strongly for <a href="https://www.iaea.org/about/overview/history">international arms control</a>. The Soviet Union’s first atomic bomb test in August 1949 took the US by surprise and pushed American researchers to develop a hydrogen bomb. The US government hardened its position. In 1952, Truman refused to reappoint Oppenheimer as the adviser to the Atomic Energy Commission. After 1952, Oppenheimer’s advocacy against the first test of the hydrogen bomb resulted in the suspension of his security clearance. The investigation that followed in 1954 exposed Oppenheimer’s past communist ties and culminated in <a href="https://www.history.com/news/father-of-the-atomic-bomb-was-blacklisted-for-opposing-h-bomb">his security clearance being revoked</a>. <figure><iframe src="https://www.youtube.com/embed/uYPbbksJxIg?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>McCarthyism and academic freedom</h2> In the era of Joseph McCarthy’s witch-hunts, his fellow scientists considered Oppenheimer as a martyr of the cause of academic freedom. “In England”, commented Wernher von Braun, a former Nazi turned American pioneer of rocket technology, “<a href="https://ahf.nuclearmuseum.org/ahf/history/oppenheimer-security-hearing/">Oppenheimer would have been knighted</a>”. After 1954, Oppenheimer did not cease to advocate for freedom in the pursuit of knowledge. He toured internationally with talks about the role of academic freedom unrestrained by political considerations. He argued that the sciences and the humanities are <a href="https://archive.org/details/scienceandthecom007308mbp/page/n7/mode/2up">not separate human endeavours but interlocked and inseparable</a>. Oppenheimer died at the age of 62 on February 18, 1967.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/209398/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/darius-von-guttner-sporzynski-112147">Darius von Guttner Sporzynski</a>, Historian, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/now-i-am-become-death-the-destroyer-of-worlds-who-was-atom-bomb-pioneer-robert-oppenheimer-209398">original article</a>.

Movies

In a Barbie world … after the movie frenzy fades, how do we avoid tonnes of Barbie dolls going to landfill?

<a href="https://theconversation.com/profiles/alan-pears-52">Alan Pears</a>, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a> It made headlines around the world when the much-hyped Barbie movie contributed to a <a href="https://www.theguardian.com/film/2023/jun/05/barbie-film-required-so-much-pink-paint-it-contributed-to-worldwide-shortage">world shortage</a> of fluorescent pink paint. But that’s just the tip of the iceberg. When movies or TV shows become cultural phenomena, toymakers jump on board. And that comes with a surprisingly large amount of plastic waste. Think of the fad for <a href="https://www.bbc.com/news/business-51554386">Baby Yoda dolls</a> after the first season of The Mandalorian in 2020. When the Barbie movie comes out this week, it’s bound to trigger a wave of doll purchases over and above the <a href="https://environment-review.yale.edu/most-materials-are-recyclable-so-why-cant-childrens-toys-be-sustainable">60 million Barbies</a> already sold annually. Toys are the most plastic-intensive consumer goods in the world, <a href="https://wedocs.unep.org/bitstream/handle/20.500.11822/25302/Valuing_Plastic_ES.pdf">according to</a> a 2014 United Nations Environment Program report. Worse, very few toys are recycled. That’s often because they can’t be – they’re made of a complex mixture of plastics, metals and electronics. When children get bored, these toys often end up in landfill. <h2>The toll of the dolls</h2> Consider a single Barbie doll. What did it cost to create? Before the US-China trade war, <a href="https://asia.nikkei.com/Spotlight/The-Big-Story/China-s-toy-making-capital-scrambles-to-reinvent-itself">half the world’s toys</a> were manufactured in Dongguan, a city in China. That included one in three Barbie dolls. American researchers <a href="https://www.sciencedirect.com/science/article/abs/pii/S2352550922000550">last year quantified</a> what each doll costs the climate. Every 182 gram doll caused about 660 grams of carbon emissions, including plastic production, manufacture and transport. The researchers analysed seven other types of toys, including Lego sets and Jenga. By my calculations, emissions on average across all these types of toys are about 4.5 kilograms per kilogram of toys. Scaled up, this is considerable. In the US, <a href="https://www.theguardian.com/environment/2021/oct/21/plastics-greenhouse-gas-emissions-climate-crisis">it’s estimated</a> emissions from the plastics industry will overtake those from coal within seven years. So the question is, how can we cut our emissions to zero as fast as possible to ensure we and our children have a liveable climate – without putting a blanket ban on plastic toys? After all, toys and entertainment add happiness to our lives. <h2>The role for toymakers and governments</h2> To date, there has been little focus on making the toy industry more sustainable. But it shouldn’t escape our notice. Toy manufacturers can – and should – use low carbon materials and supply chains, and focus on making toys easily dissembled. Toys should be as light as possible, to minimise transport emissions. And battery-powered toys should be avoided wherever possible, as they <a href="https://www.sciencedirect.com/science/article/abs/pii/S2352550922000550">can double</a> a toy’s climate impact and turn a plastic waste problem into an electronic waste problem. To their credit, some toymakers <a href="https://time.com/6126981/my-kids-want-plastic-toys-i-want-to-go-green-heres-a-fix/">have cut back</a> on plastic in their packaging, given packaging immediately becomes waste. In a welcome move, the maker of Barbie, Mattel, launched their own recycling scheme in 2021, allowing buyers to send back old toys to be turned into new ones. This scheme isn’t available in Australia, however. Toymakers can help at the design stage by choosing the materials they use carefully. Governments can encourage this by penalising cheap, high-environmental-impact plastics. We can look to the <a href="https://www.clientearth.org/latest/press-office/press-list/eu-court-delivers-final-blow-to-plastics-industry-on-bpa/">European</a> and American bans on BPA-containing plastics in infant milk bottles as an example of what’s possible. Governments can set up effective recovery and recycling systems able to handle toys. Some plastic-dependent brands such as Lego are unilaterally moving away from petrochemical-based plastic in favour of sugarcane-based plastic. But it’s not a <a href="https://www.wired.com/story/lego-sustainable-bricks/">short-term project</a>. While Barbie dolls had an <a href="https://www.bloomberg.com/news/articles/2021-02-24/barbie-s-pandemic-sales-boom-followed-yearslong-revamp-at-mattel">uptick in popularity</a> during the pandemic years – and will no doubt have another surge alongside the movie – longer-term trends are dampening plastic toy impact. While movies in the 1980s were often “<a href="https://www.dictionary.com/browse/toyetic?s=t">toyetic</a>” – conceived with an eye to toy sales – the trend is on the wane. Gaming, for instance, has moved to centre stage for many older children. While gaming produces e-waste streams, it is also a likely cause of the <a href="https://www.theguardian.com/film/2018/apr/05/lights-camera-but-no-action-figures-are-movie-toys-going-out-of-fashion">longer-term fall</a> in popularity of plastic toys. <h2>What should we do?</h2> If you’re a parent or an indulgent grandparent, it’s hard to avoid buying toys entirely – especially if your child gets obsessed with Barbie dolls after seeing the movie. So what should you do? For starters, we can avoid cheap and nasty toys which are likely to break very quickly. Instead, look for toys which will last – and which will lend themselves to longer-term creative play. Think of the enduring popularity of brick-based toys or magnetic tiles. Look for secondhand toys. And look for toys made of simpler materials able to be recycled at the end of their lives – or even for the Barbie dolls made out of <a href="https://www.today.com/shop/mattel-barbie-doll-recycled-plastic-t221461">ocean plastics</a>. <img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/209601/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/alan-pears-52">Alan Pears</a>, Senior Industry Fellow, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/in-a-barbie-world-after-the-movie-frenzy-fades-how-do-we-avoid-tonnes-of-barbie-dolls-going-to-landfill-209601">original article</a>.

Movies

Actors leave their own movie premiere

The A-list cast of Oppenheimer have abruptly left the London premiere of the highly-anticipated movie. Stars of the film such as Cillian Murphy, Emily Blunt, Matt Damon, and Florence Pugh disappeared from the premiere, shortly after appearing on the red carpet. The film, about Robert Oppenheimer who was key in the creation of the nuclear bomb, is set to be one of the biggest films of the year, with thousands of fans turning up to London’s Leicester Square to celebrate its premiere. However, before the movie could even begin inside the theatre, the stars walked out, leaving director Christopher Nolan to wonder where they were. Nolan later told <a href="https://variety.com/">Variety</a> that the actors walked out of the event in solidarity with a just-called Hollywood actors strike. “You’ve seen them here earlier on the red carpet,” he said. “Unfortunately, they’re off to write their picket signs for what we believe to be an imminent strike by SAG, joining one of my guilds, the Writers Guild, in the struggle for fair wages for working members of the unions, and we support them.” SAG-AFTRA is the Screen Actors Guild which represents 160,000 performers including A-list stars. SAG members will now go on strike, joining writers in the first industry-wide shutdown in 63 years after last-ditch talks over dwindling pay and the threat posed by artificial intelligence failed, with nearly all film and television production set to grind to a halt. “SAG-AFTRA’s national board unanimously voted to issue a strike order against the studios and streamers,” said the union’s chief negotiator Duncan Crabtree-Ireland. At the Oppenheimer premiere, Matt Damon warned on the red carpet that he and his fellow stars were about to bail. “Once the strike is officially called, we’re going to walk obviously in solidarity”. “That’s why we moved this [event] up because we know the second it’s called, we’re going home,” he said. Image credits: Getty Images

Movies

2001: A Space Odyssey still leaves an indelible mark on our culture 55 years on

<a href="https://theconversation.com/profiles/nathan-abrams-122305">Nathan Abrams</a>, <a href="https://theconversation.com/institutions/bangor-university-1221">Bangor University</a> 2001: A Space Odyssey is a landmark film in the history of cinema. It is a work of extraordinary imagination that has transcended film history to become something of a cultural marker. And since 1968, it has penetrated the psyche of not only other filmmakers but society in general. It is not an exaggeration to say that 2001 single-handedly reinvented the science fiction genre. The visuals, music and themes of 2001 left an inedible mark on subsequent science fiction that is still evident today. When <a href="https://www.simonandschuster.com/books/Kubrick/Robert-P-Kolker/9781639366248">Stanley Kubrick</a> began work on 2001 in the mid-1960s, he was told by studio executive Lew Wasserman: “Kid, you don’t spend over a million dollars on science fiction movies. You just don’t do that.” By that point, the golden age of science fiction film had run its course. During its heyday, there was a considerable variety of content within the overarching genre. There had been serious attempts to foretell space travel. Destination Moon, directed by Irving Pichel and produced by George Pal in 1950, and, in mid-century, Byron Haskin’s Conquest of Space both fantasised space travel and, in Haskin’s film, a space station, which Kubrick would elaborate on in 2001. <figure><iframe src="https://www.youtube.com/embed/oR_e9y-bka0?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>The trailer for 2001: A Space Odyssey.</figcaption></figure> Most 1950s science fiction films, though, were cheap B-movie fare and looked it. They involved alien invasions with an ideological and allegorical subtext. They were cultural, cinematic imaginations of the danger of communism, which in the overheated political atmosphere of the time was seen as an imminent threat to the American way of life. The aliens in most science fiction films were out simply to destroy or take over humanity; they were expressions, to use the title of a Susan Sontag essay, of “<a href="https://americanfuturesiup.files.wordpress.com/2013/01/sontag-the-imagination-of-disaster.pdf">the imagination of disaster</a>”. There were some exceptions, including Byron Haskin’s film version of The War of the Worlds and Robert Wise’s The Day the Earth Stood Still. By 1968, then, as the lights went down, very few people knew what was about to transpire and they certainly were not prepared for what did. The film opened in near darkness as the strains of Thus Spake Zarathustra by Richard Strauss were heard. The cinema was dazzled into light, as if Kubrick had <a href="https://www.rutgersuniversitypress.org/stanley-kubrick/9780813587110">remade Genesis</a>. The subsequent 160 or so minutes (the length of his original cut before he edited 19 minutes out of it) took the viewer on what was marketed as “the ultimate trip”. Kubrick had excised almost every element of explanation leaving an elusive, ambiguous and thoroughly unclear film. His decisions contributed to long silent scenes, offered without elucidation. It contributed to the film’s almost immediate critical failure but its ultimate success. It was practically a silent movie. 2001 was an experiment in film form and content. It exploded the conventional narrative form, restructuring the conventions of the three-act drama. The narrative was linear, but radically, spanning aeons and ending in a timeless realm, all without a conventional movie score. Kubrick used 19th-century and modernist music, such as Strauss, György Ligeti and Aram Khachaturian. <h2>Vietnam</h2> The movie was made during a tumultuous period of American history, which it seemingly ignored. The war in Vietnam was already a highly divisive issue and was spiralling into a crisis. The <a href="https://www.britannica.com/topic/Tet-Offensive">Tet offensive</a>, which began on January 31 1968, had claimed tens of thousands of lives. As US involvement in Vietnam escalated, domestic unrest and violence at home intensified. Increasingly, young Americans expected their artists to address the chaos that roared around them. But in exploring the origins of humanity’s propensity for violence and its future destiny, 2001 dealt with the big questions and ones that were burning at the time of its release. They fuelled what Variety magazine called the “coffee cup debate” over “what the film means”, which is still ongoing today. The design of the film has touched many other films. Silent Running by Douglas Trumbull (who worked on 2001’s special effects) owes the most obvious debt but Star Wars would be also unthinkable without it. Popular culture is full of imagery from the film. The <a href="https://faroutmagazine.co.uk/stanley-kubrick-2001-a-space-odyssey-music/">music</a> Kubrick used in the film, especially Strauss’s The Blue Danube, is now considered <a href="https://theweek.com/articles/702734/planetarium-brief-history-space-music">“space music”</a>. Images from the movie have appeared <a href="https://www.youtube.com/watch?v=kfK9pEQZyy0">in iPhone adverts</a>, in The Simpsons and even the trailer for the new <a href="https://metro.co.uk/2022/12/16/trailer-for-greta-gerwigs-barbie-spoofs-classic-film-in-best-way-17951854/">Barbie movie</a>. <figure><iframe src="https://www.youtube.com/embed/8zIf0XvoL9Y?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>2001: A Space Odyssey’s influence on this Barbie movie trailer couldn’t be more obvious.</figcaption></figure> The warnings of the danger of technology embodied in the film’s murderous supercomputer HAL-9000 can be felt in the “tech noir” films of the late 1970s and 1980s, such as Westworld, <a href="https://theconversation.com/how-alien-mutated-from-a-sci-fi-horror-film-into-a-multimedia-universe-204567">Alien</a>, Blade Runner and Terminator. HAL’s single red eye can be seen in the children’s series, Q Pootle 5, and Pixar’s animated feature, Wall-E. HAL has become shorthand for the untrammelled march of artificial intelligence (AI). In the age of ChatGPT and other AI, the metaphor of Kubrick’s computer is <a href="https://www.nytimes.com/2023/02/22/movies/ai-movies-microsoft-bing-robots.html">frequently evoked</a>. But why when there have been so many other images such as Frankenstein, Prometheus, terminators and other murderous cyborgs? Because there is something so uncanny and human about HAL who was deliberately designed to be more <a href="https://www.tandfonline.com/doi/abs/10.1080/01439685.2017.1342328?journalCode=chjf20">empathic and human than the people in the film</a>. In making 2001, Stanley Kubrick created a cultural phenomenon that continues to speak to us eloquently today.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/209152/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/nathan-abrams-122305">Nathan Abrams</a>, Professor of Film Studies, <a href="https://theconversation.com/institutions/bangor-university-1221">Bangor University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/2001-a-space-odyssey-still-leaves-an-indelible-mark-on-our-culture-55-years-on-209152">original article</a>.

Movies

Why Hugh Grant as an Oompa Loompa is the best thing we've ever seen

Hold onto your chocolate bars, folks, because director Paul King has done it again! After his stroke of genius in casting Hugh Grant as the dastardly villain in Paddington 2, King couldn't resist the temptation to work with Grant once more. This time, he enlisted the British star for a truly magical role in the upcoming Roald Dahl prequel, Wonka (set to release on December 15 by Warner Bros.). But brace yourselves, because Grant's appearance as an Oompa Loompa is bound to leave you in stitches. During the official premiere of the Wonka trailer in London, which was attended by lucky guests treated to a buffet overflowing with Wonka-inspired sugary delights, King took a moment to explain his decision to cast Grant as a pint-sized, green-haired Oompa Loompa. The hilarious deadpan performance in the final moments of the trailer speaks for itself! In delving into the backstory of Willy Wonka, played by the brilliant Timothée Chalamet, King found himself diving headfirst into Dahl's books for inspiration. When it came to the Oompa Loompas, King discovered that although Dahl didn't grant them much dialogue, their songs were packed with incredible sarcasm, judgment, and cruelty directed at the kids in the story. “So I was really just thinking about that character; somebody who could be a real shit, and then — ah! Hugh!” he told the London premiere crowd. “Because he’s the funniest, most sarcastic shit I’ve ever met.” <iframe title="YouTube video player" src="https://www.youtube.com/embed/Dckc2RcL69s" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> As for his leading star, Chalamet, King's praise was somewhat more refined, or so he claims: “It was a very short list of people who could play Willy Wonka, and really, it was him. I really do think he’s the most incredible actor of his generation, because he’s got this incredible ability to dive very deep into his own personal emotions and convey things with the turn of an eye — he’s very, very controlled, very smart and incredibly emotionally intuitive.” While acknowledging the daunting task of following in the footsteps of acting legends like Johnny Depp and the original Wonka himself, Gene Wilder, King was confident that Chalamet would rise to the occasion. "I think he manages to bring that sort of mayhem and mischievousness but with a deep emotional grounding," he said, "which is really quite extraordinary.” So, get ready to embark on a sugar-coated adventure with Hugh Grant's hilariously sarcastic Oompa Loompa and Timothée Chalamet's awe-inspiring portrayal of Willy Wonka. It's going to be one wild, chocolate-filled ride that will leave your sides splitting and your sweet tooth satisfied. Images: Warner Bros

Movies

Harrison Ford is back as an 80-year-old Indiana Jones – and a 40-something Indy. The highs (and lows) of returning to iconic roles

<a href="https://theconversation.com/profiles/ben-mccann-398197">Ben McCann</a>, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a> Saddle up, don the fedora and crack that whip: Harrison Ford is back as the intrepid archaeologist in Indiana Jones and the Dial of Destiny. The film premiered at Cannes, where Ford was <a href="https://www.hollywoodreporter.com/movies/movie-news/harrison-ford-honorary-palme-dor-cannes-1235495463/">awarded</a> an Honorary Palme d’Or in recognition of his life’s work. Reviews for the fifth film in the franchise <a href="https://www.hollywoodreporter.com/movies/movie-news/indiana-jones-5-review-roundup-1235495961/">have been mixed</a>, and it is the first Indy film not to be directed by Steven Spielberg (this time, it’s James Mangold, best known for his motor-racing drama Ford v Ferrari). But this is “event” cinema that combines nostalgia, old-school special effects and John Williams’ <a href="https://theconversation.com/from-jaws-to-star-wars-to-harry-potter-john-williams-90-today-is-our-greatest-living-composer-176245">iconic score</a>. So, Ford is back, aged 80. What draws actors back after all this time? <figure><iframe src="https://www.youtube.com/embed/eQfMbSe7F2g?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Role returns</h2> Ford first played Indy in 1981 and last played him in 2008. That is a full 15 years since the most recent film in the series, and 42 years since his first outing in Raiders of the Lost Ark. Ford has form in returning to celebrated characters. One of the great pleasures of watching The Force Awakens back in 2015 was seeing Ford play Han Solo again for the <a href="https://www.dailymotion.com/video/x3j2j09">first time in over 30 years</a>. <figure><iframe src="https://www.youtube.com/embed/0xQSIdSRlAk?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Actors return to roles for numerous reasons: <ul> <li>financial (Ford was reportedly paid <a href="https://okmagazine.com/exclusives/harrison-ford-paid-indiana-jones-5-plagued-with-problems/">US$25 million</a> for Dial of Destiny)</li> <li>protection of their brand, image and star persona (Michael Keaton <a href="https://www.fortressofsolitude.co.za/the-flash-movies-biggest-hero-how-michael-keaton-saved-the-film/">returning to play Batman</a> after three decades and three other actors who have embodied the role)</li> <li>professional (Tom Cruise admitted over the 36 years between Top Gun films he wanted to make sure the sequel <a href="https://screenrant.com/top-gun-maverick-tom-cruise-return-how-explained/">could live up to the original</a>)</li> <li>personal (once-huge stars are working less and less, and only feel the need to return to a built-in fan base every few years – Bill Murray in the 2021 Ghostbusters sequel springs to mind).</li> </ul> It’s not always a successful endeavour. Arnold Schwarzenegger and Sylvester Stallone – two of the biggest action stars of the 1980s off the back of iconic roles as The Terminator, Rocky Balboa and John Rambo – have repeatedly returned to those roles, and critics have been <a href="https://screenrant.com/terminator-dark-fate-undermined-john-connor-storyline-franchise-bad/">particularly harsh</a>. It did not work for Sigourney Weaver in <a href="https://www.rogerebert.com/reviews/alien-resurrection-1997">Alien: Resurrection</a> in 1997, 18 years after her first time as Ripley; nor for Keanu Reeves in <a href="https://www.theguardian.com/film/2021/dec/21/the-matrix-resurrections-review-keanu-reeves">The Matrix Resurrections</a> in 2021, 23 years after the original. And still, I’m intrigued to see what Michael Mann could do with his long-rumoured sequel to Heat, his definitive 1995 crime film. Ever since Mann published his novel Heat 2 last year – a kind of origin story for Heat’s key protagonists – fans have been hoping a de-aged Al Pacino (now aged 83) <a href="https://deadline.com/2023/04/michael-mann-heat-2-warner-bros-adam-driver-young-neil-mccauley-1235316777/">might return</a> as LA cop Vincent Hanna. <h2>Undoing time</h2> “Digital de-ageing” first entered the Hollywood mainstream in 2019 with The Irishman and Captain Marvel. <a href="https://www.indiewire.com/features/craft/de-aging-actors-history-benjamin-button-dial-of-destiny-harrison-ford-1234863938/">Via this process</a>, older actors (Robert De Niro, Al Pacino and Samuel L. Jackson have all been subject to the technology) move back and forwards in time without younger actors having to play them. <figure><iframe src="https://www.youtube.com/embed/OF-lElIlZM0?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Films still tend to cast two actors to play older and younger versions of the same character, a choice that dates back at least to 1974’s The Godfather Part II, in which a young Robert de Niro plays Vito Corleone, portrayed by the much older Marlon Brando in the first film. In 1989, Indiana Jones and the Last Crusade features a delightful opening scene where River Phoenix plays the young version of Indiana Jones, before Ford takes over for the rest of the film. <figure><iframe src="https://www.youtube.com/embed/AwH6-Yh7_SM?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Actors used to just play characters of their own age when reprising earlier roles. Paul Newman finally won a Best Actor Oscar for his role as “Fast Eddie” Felson in The Color of Money (1986), a quarter of a century after first playing him in The Hustler. The sequel plays on Newman’s age, and his role as a mentor to an upcoming Tom Cruise, and bathes viewers in nostalgia and memories of <a href="https://faroutmagazine.co.uk/paul-newman-schooled-tom-cruise-the-color-of-money/">a younger Newman</a>. <figure><iframe src="https://www.youtube.com/embed/k7gmrKAFshE?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> But actors no longer have to exclusively play their age. The first part of Dial of Destiny is an extended flashback, set in 1944, in which Ford has been digitally de-aged to appear in his 40s. This process used an AI system that scanned used and unused reels of footage of Ford from <a href="https://www.cbr.com/harrison-ford-de-aging-indiana-jones-dial-of-destiny/">the first three Indy films</a> to match his present-day performance. Here, it is as if we are getting two Fords for the price of one: the “younger”, fitter Indy and the older, more world-weary version. It makes for a powerfully emotional connection on screen. Yet there are some <a href="https://variety.com/2023/film/awards/indiana-jones-5-harrison-ford-de-aging-not-working-1235618698/">pitfalls to de-ageing</a>. Some viewers complain that the whole process is distracting and that the hyper-real visual look of de-aged scenes resembles a video game. Even so, de-ageing in Hollywood cinema is here to stay. Tom Hanks’s <a href="https://variety.com/2023/film/news/tom-hanks-robin-wright-digitally-deaged-robert-zemeckis-movie-1235507766/">next film</a> is using AI-based generative technology to digitally de-age him. Given its reduced cost, speed and reduced human input, AI-driven innovation might have <a href="https://filmstories.co.uk/news/new-ai-driven-de-ageing-tools-to-be-used-in-tom-hanks-project/">industry-changing ramifications</a>. <h2>The star of Ford</h2> Harrison Ford remains a bona fide “movie star” in an industry profoundly buffeted by COVID, the rise of streaming platforms, the demise of the monoculture, and the changing nature of who constitutes a star. In the midst of all this industry uncertainty, it seems there is no longer a statute of limitations on actors returning to much-loved characters. The next big ethical issue for the film industry as it further embraces AI is whether to <a href="https://collider.com/james-dean-digital-cgi-performance-in-new-movie/">resurrect deceased actors</a> and cast them in new movies. Still, I’m looking forward to seeing more actors de-aged as the technology improves and audiences acclimatise to watching older actors “playing” younger versions of themselves. We are only at the start of Hollywood’s next big adventure.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/202357/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ben-mccann-398197">Ben McCann</a>, Associate Professor of French Studies, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/harrison-ford-is-back-as-an-80-year-old-indiana-jones-and-a-40-something-indy-the-highs-and-lows-of-returning-to-iconic-roles-202357">original article</a>.

Movies

New actor to play Superman finally named

An exciting announcement has been made regarding the newest upcoming Superman movie, as it introduces a fresh actor to take on the iconic superstar role. Actor David Corenswet, aged 29, has been chosen to take over the mantle from Henry Cavill in the highly anticipated 2025 film, titled Superman: Legacy. Corenswet will make his debut as the main protagonist in this rebooted film series, portraying the iconic character Clark Kent. He will be joined by Rachel Brosnahan, aged 32, who will be stepping into the role of Lois Lane, previously played by Amy Adams, according to a report by Deadline. Corenswet, known for his role as Jake in the 2022 Netflix film Look Both Ways alongside Lili Reinhart, has previously showcased his talent in productions such as Hollywood, The Politician, and the A24 film Pearl. Superman: Legacy is scheduled to be released on July 11, 2025, and will explore the dynamic between Superman's Kryptonian heritage and his upbringing as a human. During the casting process, Corenswet and the marvellous star of The Marvellous Mrs. Maisel, Rachel Brosnahan, were among a select group of actors who auditioned in front of DC co-chairs Peter Safran and director James Gunn while fully dressed in Superman costumes and makeup. The auditions spanned two days and involved three actors who had been meticulously chosen after an extensive search for the new leads. Henry Cavill, who had been widely anticipated to reprise his role as the Man of Steel after appearing in a teaser for Black Adam in October 2022, delivered the "sad news" in January that he had been removed from the cast by the bosses at DC Studios. In his announcement, Cavill expressed his respect for the decision, acknowledging that changes in casting occur in the entertainment industry. He mentioned his meeting with James Gunn and Peter Safran and their vision for building a new universe. Despite being instructed by the studio to announce his return in October, prior to their involvement, he accepted the situation, understanding that it is a part of life's ever-evolving nature. Image: Netflix

Movies

5 must-watch films about ageing

In an age where it seems everything pop culture is concerned with youthfulness and preventing the process of ageing at every chance, these films bucked the trend to bring authentic (not to mention entertaining) stories about ageing to the masses. Here are five movies about the trials and triumphs of growing old that you simply can’t miss. About Schmidt Starring Jack Nicholson as the newly-retired Warren Schmidt, this is a film about finding friendship and meaning in unlikely places. After his wife suddenly dies, he takes a life-changing trip across the country, confronting his demons and learning about what he really wants out of life. The final scene alone is worth a watch. Amour If you can stand the subtitles, this Oscar-winning French film is definitely not one to miss. It follows the story of an elderly couple, Anne and George, as they face the challenges that arise when Anne experiences a severe stroke. It’s a beautiful movie which showcases the power of love and the strength of the human spirit. On Golden Pond This 1981 film earned Henry Fonda an Oscar, and it’s not difficult to see why. On Golden Pond candidly explores the not-so-welcome side effects of ageing and the heartbreaking impact of memory loss on a tight-knit family. With great performances from Katherine Hepburn and Fonda’s daughter Jane, this is a film every family needs to watch. The Curious Case of Benjamin Button It may surprise you, but Benjamin Button is actually a fantastic commentary on what it means to grow old and how little our ‘age’ reflects how old we feel on the inside. Loosely based on F. Scott Fitzgerald’s 1992 short story of the same name, the film follows the relationship between Daisy Fuller (Cate Blanchett) and Benjamin Button (Brad Pitt), who bizarrely ages in reverse. The Best Exotic Marigold Hotel Featuring a star-studded cast including Judi Dench, Maggie Smith and Bill Nighy, if you haven’t already seen The Best Exotic Marigold Hotel, you’re in for a treat. The film follows a group of British seniors who move to a retirement hotel in India. What follows is an experience that just goes to show, it’s never too late to rediscover yourself. Plus, the sequel is just as fun! Image credit: Shutterstock

Movies

Iconic movie scenes that nearly didn’t happen

There are a multitude of significant changes that get made throughout the creation of a feature film. These iconic movie scenes nearly didn’t happen but thankfully, a spark of genius made these beloved movie moments make it on our screens. 1. E.T. the Extra Terrestrial <iframe src="https://www.youtube.com/embed/gTVoFCP1BLg?feature=oembed" width="500" height="281" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Originally, Spielberg went for a bleak ending where E.T. dies in government captivity, but people thought this ending was much too miserable. Instead, the ending was famously reworked to see E.T fly across the moon into freedom. Spielberg also ended up making that shot the logo of his production company Amblin Entertainment. 2. Lady and the Tramp <iframe src="https://www.youtube.com/embed/9gwZC5s2IU0?feature=oembed" width="500" height="281" frameborder="0" allowfullscreen="allowfullscreen"></iframe> The spaghetti date between Lady and the Tramp is the most iconic moment in the 1955 animation. Walt Disney thought the idea was a bit far-fetched to begin with and so he cut the scene from the first storyboards. “Walt wasn't convinced that that would be a very clean-cut scene," former Disney archivist Steven Vagnini told Yahoo Movies. "As you can imagine, if you have two pets and they eat a plate of spaghetti, it's hard to envision that being too graceful." Thankfully, the adorable scene was included. 3. Rocky The original ending of Rocky was going to feature Sylvester Stallone crowd surfing towards Adrian after his victory. However, there were not enough extras to carry Stallone so instead, a more intimate scene was created where he yells his girlfriend’s name. 4. Star Trek II: Wrath of Khan <iframe src="https://www.youtube.com/embed/LXVqSa2l6mg?feature=oembed" width="400" height="300" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Wrath of Khan’s ending was altered after a test audience said Spock’s death was too bleak. A last-minute scene was shot showing his coffin landing on the Genesis Planet, giving a glimmer of hope of his return. Leonard Nimoy only learned of the change when he watched the completed film. Images: Universal Pictures

Movies

Kate Winslet reveals behind-the-scenes secrets on Titanic

Kate Winslet has recounted the time she got Sir Peter Jackson into trouble with security. Speaking to Variety magazine, the Oscar-winning actress says she, her Heavenly Creatures director and his partner, screenwriter Fran Walsh, ran afoul of the authorities on the set of Titanic just over 20 years ago. "I've never told this story," she said of Jackson and Walsh's somewhat brief visit to the Los Angeles set of James Cameron's epic drama. "They were in L.A. and said 'oh, we must come down and see you'. I took them on set on a Sunday afternoon. We got out back, and the security guard said, 'You can't be here'. Until that moment, it hadn't occurred to me. They were my friends. What's lovely now is that James Cameron and Peter Jackson have a lot to do with each other because of Weta and Avatar. 'Of course you [Jackson] wanted to come visit! You're so cheeky. Duh.'" Asked what memories she had of the Titanic shoot itself, Winslet said shooting the scene behind the gate where Leonardo Di Caprio's character loses a key was "genuinely scary". "I didn't like shooting that at all". Confessing that she had no idea how big the movie, which came out in December 1997, was going to be, Winslet said she saw the film for the first time at a regular cinema screening in uptown Los Angeles. Absent for the premiere as she was in Morocco filming, Winslet recounted how she put on a baseball cap "because someone told me I ought to do that". "That was a real thrilling experience, to sit and watch a movie that I was in with a proper audience. I hadn't done that before or since." The 42-year-old English actress, currently onscreen in The Mountain Between Us, also contradicted earlier reports that Heavenly Creatures was the only one of her films she'd seen more than once. She told Variety that in fact it was Eternal Sunshine of the Spotless Mind, because "my children love it". “That's really the only thing of mine they can actually see without their mother taking off her clothes or dying." Republished with permission of <a href="http://www.stuff.co.nz/" target="_blank" rel="noopener">Stuff.co.nz</a>. Images: Getty

Movies

Are the Oscars going to take animated films more seriously?

<a href="https://theconversation.com/profiles/robert-boucaut-1215760">Robert Boucaut</a>, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a> “Animation is cinema. Animation is not a genre. And, animation is ready to be taken to the next step – we are all ready for it, please help us, keep animation in the conversation.” This was Guillermo del Toro’s testament accepting the Academy Award for Best Animated Feature Film in 2023 for <a href="https://www.imdb.com/title/tt1488589/">Guillermo del Toro’s Pinocchio</a>, released by Netflix. As one of the most acclaimed modern auteurs – and one who has <a href="https://www.avclub.com/guillermo-del-toro-is-going-all-in-on-animation-1850539253">announced his intention to stick with animation</a> as his preferred medium – his acceptance speech reads like a plea directly to the academy. <figure><iframe src="https://www.youtube.com/embed/shW9i6k8cB0?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Animated films at the Oscars</h2> The Oscars have had a storied history of engaging with animated cinema. Since 2002, they have awarded a Best Animated Feature award, first won by Shrek. This was a time of technological innovations for 3D animation (think Toy Story or A Bug’s Life), and of standout A-list voice performances (Robin Williams in Aladdin, or Shrek’s star-studded cast). By including animated films as a standalone category, the Oscars ended up segregating them: animation was treated as its own thing. Beauty and the Beast broke ground as the first-ever animated nominee for the Best Picture Oscar in 1992, but only two films have achieved such a feat since. <figure><iframe src="https://www.youtube.com/embed/iurbZwxKFUE?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Up (2009) and Toy Story 3 (2010) were Best Picture Oscar nominees (and Best Animated Feature winners) of their respective years. However, such recognition only came after the academy expanded its Best Picture category from five nominees to up to 10. This was a concerted effort to include more popular films in the Oscars due to waning audience interest, after Best Picture snubs of The Dark Knight and WALL-E. If animated films have had difficulty breaking into the Oscars’ vision of a Best Picture, then voice talent has been outright bypassed for consideration in acting categories. Since Shrek, stars have increasingly taken on voice work for animated projects in ways that elevates them from a side-hustle to key parts of their CVs. For instance, <a href="https://www.youtube.com/watch?v=5L1iX5JiuwI">Chris Pratt</a> and <a href="https://www.vogue.com/article/anya-taylor-joy-princess-peach-super-mario-premiere">Anya Taylor-Joy</a>’s promotional duties for The Super Mario Bros. Movie represent significant time and stardom investments for the sake of animated intellectual property. Yet without the physical body to observe, the Oscars have ignored voice work in animated films. The most meaningful push to have a voice performance nominated was for Scarlett Johansson’s in Her where she played a computer operating system. Johansson’s performance was nuanced, played with chemistry against her co-stars, and, ironically, Her was not an animated film. <figure><iframe src="https://www.youtube.com/embed/dJTU48_yghs?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Are things changing?</h2> The <a href="https://theconversation.com/winning-everything-everywhere-all-at-once-5-experts-on-the-big-moments-at-the-oscars-2023-201661">Oscars this year</a> shifted their brand of “prestige” to value the “cinematic experience” (and box office money) in the age of streaming. The sweep of Everything Everywhere All at Once and Best Picture nominations for Top Gun: Maverick and Avatar: The Way of Water in 2023 signal the academy conspicuously praising populist fare for bringing audiences into the physical cinema. This then hopefully attracts <a href="https://variety.com/2023/tv/news/2023-oscar-ratings-academy-awards-audience-1235550070/">more audience eyeballs to an Oscars telecast</a> where they are likely to have actually seen some of the nominees. Popular film’s infiltration of the Oscars even seeped into the acting categories. Everything Everywhere All At Once’s indie cred made nominations (and three eventual wins) for its stars logical and welcome, but even Black Panther: Wakanda Forever’s Angela Bassett scored a Best Supporting Actress nomination, the first acting recognition for the Marvel Cinematic Universe. Its online fandom was instrumental here, having opined the academy’s biases against their beloved franchise. Now, Spider-Man: Across the Spider-Verse has arrived ahead of the 2024 Oscars race. The animated film boasts a star-studded cast, including past Oscar nominees and winners like Daniel Kaluuya and Hailee Steinfeld in key supporting roles. Shameik Moore’s lead vocal performance as Miles Morales is also exceptional. Still figuring out what it means to balance being Spider-Man with a complicated home and social life, he sounds remarkably recognisable as a modern teenager. <figure><iframe src="https://www.youtube.com/embed/cqGjhVJWtEg?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Credit for this extends to a snappy script and intricate editing that bounces through its complex multiverse setting and superhero super-stakes to focus on moving character development. Thematically, it reflects on the artistic value of the superhero genre, unpacking the Spider-Man lore across its many iterations. And, of course, the visual artistry on display is mind-blowing, truly pushing cinematic excess in ways that only animation (currently) can. Spider-Man: Across the Spider-Verse is the kind of popular cinema that the academy is currently primed to take more seriously. It’s on track to become one of the year’s box office successes, serves a dedicated fandom, showcases a stacked cast and dynamically plays with genre and narrative conventions. As part two of a trilogy, it is unlikely to take out the Best Picture race altogether (Beyond the Spider-Verse, coming in 2024, is the more likely candidate if it sticks the landing). But it is still well-positioned to break through the confines of the Best Animated Feature category.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/207716/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/robert-boucaut-1215760">Robert Boucaut</a>, PhD Candidate & Tutor, Media Department, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/are-the-oscars-going-to-take-animated-films-more-seriously-207716">original article</a>. Images: Sony Pictures Animation

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Meg Ryan is back after a "giant break"

Oprah reveals measly salary from The Color Purple

Martin Scorsese exposes Leo DiCaprio’s irritating on-set habit

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"His worst moment as a person": Sean Penn unleashes on Will Smith's Oscar's slap

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Beyond Barbie and Oppenheimer, how do cinemas make money? And do we pay too much for movie tickets?

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Is the Barbie movie a bold step to reinvent and fix past wrongs or a clever ploy to tap a new market?

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