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It starts with one of them casually saying, “Write what you know” — it may be Mark McKinney, slightly leaning back in his chair and staring at the ceiling, or it might be Bruce McCulloch, who’s wandering around the conference room, checking his phone as it charges and idly munching on a pastry. Whoever said it first, it’s definitely Kevin McDonald who quickly jumps in and, as if on cue, immediately chants, “Write what you know!” He says it again, at which point Dave Foley joins in as well. “Write what you know!” “Write what you know!” McKinney and McCulloch, both grinning, start singing along as well: “Write what you know! Write what you know! Write what you know!” Scott Thompson is too busy laughing to harmonize at first, until he finally composes himself, clears his throat, and then beautifully bellows out, in the most operatic tenor imaginable: “Wriiiiite! Whaaat! Yoooouuuu! Knoooooowwwwwwww !!!” Minutes before, the legendary sketch-comedy quintet the Kids in the Hall had … [Read more...] about The Kids in the Hall Are Back — Older, Slightly Less Angry and Still Incredibly F–king Funny

Long a bastion of artistic freedom, the Cannes Film Festival has a secret: it censors interviews with festival head Thierry Frémaux. The festival has not only been demanding copy approval as a condition for interviews with Frémaux (something no other festival or organization has asked of us), but after pledging not to make any changes to copy, it has been removing content including potentially uncomfortable answers from Frémaux relating to diversity and controversial filmmakers. Last month we were in Paris following the lineup announcement to interview Frémaux about the selection and the festival more generally for our Cannes Disruptors magazine. Following an entirely amicable and interesting on-record interview, I was belatedly told by the press team about the copy approval requirement. I was told that these conditions were adhered to by trade and French press, including Deadline in the past. I contested the practice as unethical but was told this was done primarily as a … [Read more...] about Why Deadline Can’t Publish Our Magazine Interview With Cannes Film Festival Head Thierry Frémaux

House Republicans elected Rep. Elise Stefanik to replace Rep. Liz Cheney as their House conference chair, the third top-ranking member of the caucus. Once a fierce Trump opponent known for bipartisanship, Stefanik pivoted during Trump’s impeachment to become one of his most avid defenders and a “rising star” in the party, according to the former president. Stefanik even earned Trump’s support for the leadership position. When Rep. Chip Roy entered the race, the former president issued a statement of support for Stefanik. “Can’t imagine Republican House Members would go with Chip Roy — he has not done a great job, and will probably be successfully primaried in his own district,” Trump said. “I support Elise, by far, over Chip!” In a statement following the vote, Stefanik promised to oppose the majority party: “House Republicans are united in our focus to fight on behalf of the American people to save our country from the radical Socialist Democrat agenda.” Stefanik’s … [Read more...] about Elise Stefanik Passes Loyalty Test to Dear Leader, Gets Leadership Spot

EXCLUSIVE : George Miller is distracted. Five minutes into our meeting, he begs forgiveness to take a quick call. And then, on an iPad tilted in his direction, the filmmaker watches as a camera feed from the Australian outback offers him a live view of a pre-shoot for his next feature, Furiosa . His supervising stunt coordinator and second unit director, Guy Norris, whose work with Miller stretches back to 1981’s Mad Max sequel The Road Warrior , is already shooting sequences for the new film. Set 15 years before the events of Mad Max: Fury Road , the film will tell the backstory of Charlize Theron’s enigmatic Furiosa, this time played by Anya Taylor-Joy. “Here I am doing an interview with you halfway across the world, and I’m able to look at this footage being shot far west from where I am and we’re discussing it as we go through the process,” says Miller, marveling at the technology. “It’s amazing, really.” It has been seven years since Fury Road … [Read more...] about Inside George Miller’s 20-Year Quest To Make ‘Three Thousand Years Of Longing’, As ‘Furiosa’ Revs Her Engines – Cannes