Hollywood
Katherine Waterston to star opposite Eddie Redmayne in ‘Harry Potter’ spinoff
MUMBAI: Katherine Waterston will star opposite Eddie Redmayne in Warner Bros. Pictures’ Harry Potter spinoff Fantastic Beasts and Where to Find Them, set in J.K. Rowling’s Wizarding world.
Waterston will play the pivotal role of Tina, short for Porpentina, a witch who – unlike the beloved characters from Rowling’s Harry Potter books – works her magic in the U.S. She meets magizoologist Newt Scamander (Redmayne) when he stops in New York City on his travels to find and document magical creatures.
Warner Bros. Pictures president of creative development and worldwide production Greg Silverman said, “Katherine Waterston is a rising star, who was a revelation in our film Inherent Vice, earning the praise of both critics and audiences. We are thrilled to have her back in the Warner Bros. family, especially in one of our most anticipated titles for 2016, Fantastic Beasts and Where to Find Them.”
David Yates (director of the last four Harry Potter films) will direct from Rowling’s screenplay, inspired by Newt Scamander’s Hogwarts textbook Fantastic Beasts and Where to Find Them.
The film is being produced by David Heyman, producer of all eight Harry Potter features; Rowling; Steve Kloves, who scripted all but one of the Harry Potter films; and Lionel Wigram, who served as an executive producer on the last four installments of the franchise.
Waterston recently starred in Paul Thomas Anderson’s Inherent Vice, for which she shared in an Independent Spirit Award for Best Ensemble. She also stars in the upcoming biopic Steve Jobs, under the direction of Danny Boyle.
Warner Bros. Pictures will release Fantastic Beasts and Where to Find Them in 3D and Imax on 18 November, 2016.
Hollywood
Did the ballet and opera controversy cost Timothée Chalamet his Oscar?
The actor’s ‘dying art forms’ comments may have danced away his Oscar chances.
LOS ANGELES: Last night, the 98th Academy Awards delivered a performance that wasn’t in the script, as Michael B. Jordan clinched the Best Actor statue, leaving Timothée Chalamet’s widely predicted win to pirouette away into the night. While Chalamet was long considered the frontrunner for his starring turn in Marty Supreme, many are whispering that a singular, ill-timed performance, not on screen but on the campaign trail, may have rewritten the finale.
For months, the narrative surrounding the race had a singular star, Chalamet, the critics’ darling and the bookies’ bet. However, the closing numbers saw a dramatic plot twist. Chalamet found himself upstaged not just by his fellow nominees but by the ghost of public opinion, following remarks he made during a Variety and CNN actor-on-actor conversation in February.
What started as a breezy discussion turned distinctly frosty when Chalamet, the conversation’s designated trendsetter, took aim at some classical institutions. “I don’t want to be working in ballet or opera, where no one is interested anymore,” he said, before branding them “dying art forms.”
The backlash was swift and, unfortunately for Chalamet’s campaign, star-studded. For the film industry, an establishment that often fancies itself as the glamorous custodian of the high arts, the actor’s comments didn’t just strike a bum note. They sounded like a discordant symphony. Academy heavyweights, including Jamie Lee Curtis, Whoopi Goldberg and Steven Spielberg, publicly voiced their disapproval. Spielberg himself countered that the “cinematic experience” and classical performance are bound by a similar dedication to audience engagement, effectively suggesting that Chalamet’s view was perhaps a bit too modern for its own good.
The conversation quickly became a media maelstrom. In a masterstroke of high-culture clapback, renowned ballerina Misty Copeland didn’t just issue a statement. The Academy even choreographed a surprise performance by her for the ceremony itself, a powerful, wordless rebuttal that many saw as a direct riposte to Chalamet’s dismissive claims. Even regional arts institutions joined the choreography. The Seattle Opera offered a cheeky “TIMOTHEE” discount, granting a 14 percent markdown to prove that people do, in fact, care.
Did this cultural counterpoint truly cost Chalamet his win? While some industry insiders argue that Michael B. Jordan’s complex dual performance in Sinners, a performance that also swept the SAG Awards, had simply built up too much momentum, the timing of Chalamet’s comments was undeniably poor. Coming as final Oscar voting began, they arguably soured his narrative and made a vote for him feel, to some, like a vote against artistic unity.
Even the ceremony itself wasn’t finished with the narrative. Host Conan O’Brien, whose sharp tongue is a celebrated feature of these galas, didn’t miss a beat. “Security is extremely tight tonight,” O’Brien jibed during his opening monologue, glancing toward the front row. “I’m told there are concerns about attacks from both the opera and ballet communities. They’re just mad you left out jazz!”
The laughter that followed was pointed, a final public curtain call for a controversy that Chalamet likely wished had closed weeks ago. Whether it was a case of genuine peer disapproval, a sudden surge in support for Jordan’s powerhouse performance, or simply a case of poor footwork on the campaign stage, the ballet and opera debacle has now cemented its place in Oscar history. Chalamet’s experience serves as a clear memo to future contenders. Even when you are the headline act, a solo performance can still fall flat if you forget to play to the entire house.
