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“Hitman: Agent 47” is based on the top-selling and award-winning videogame franchise “Agent 47”.  Directed by Aleksander Bach, the movie centers on an elite assassin who was genetically engineered from conception to be the perfect killing machine, and is known only by the last two digits 47 on the barcode tattooed on the back of his neck.  He is the culmination of decades of research ­and forty-six earlier Agent clones — endowing him with unprecedented strength, speed, stamina and intelligence. His latest target is a mega-corporation that plans to unlock the secret of Agent 47′s past to create an army of killers whose powers surpass even his own. Teaming up with a young woman who may hold the secret to overcoming their powerful and clandestine enemies, 47 confronts stunning revelations about his own origins and squares off in an epic battle with his deadliest foe.

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The movie was to be starred in by the late Paul Walker until his untimely death came in 2013 and Rupert Friend was eventually chosen for the lead role.  Also starring in “Hitman: Agent 47” are Zachary Quinto knwond for his role in “Star Trek,” Hannah Ware (“Betrayal), Ciaran Hinds (“Game of Thrones”), Thomas Kretschmann (“Avengers: Age of Ultron”) and Emilio Rivera (“Sons of Anarchy”).

See the trailer below:

“Hitman: Agent 47” explodes in cinemas this August 27 nationwide from 20th Century Fox to be distributed by Warner Bros. 



A coming-of-age origins story grounded in reality, Josh Trank’s version of “Fantastic Four” brings Marvel’s original and longest-running superhero team in a unique, new setting.   The latest hero movie is about to set the fandom universe in a different, exciting pace that centres on four young outsiders who teleport to an alternate and dangerous universe, which alters their physical form in shocking ways. Their lives irrevocably upended, the team must learn to harness their new abilities and work together to save Earth from a former friend turned enemy.


Starred in by today’s multi-talented actors who have great pedigree – Miles Teller (“Divergent” series, “Whiplash”) stars as Reed Richards aka Mr. Fantastic, Kate Mara (“House of Cards”) as Sue Storm aks the Invisible Woman, Michael B. Jordan (“The Wire”) as Johnny Storm aka The Human Torch and Jamie Bell (“Billy Elliot,” “The Adventures of TinTin”) as Ben Grimm aka The Thing.

The latest trailer reveal of “Fantastic Four” (3D) that has stirred the fans’ excitement all over the globe can be seen here:

                Prepare for the coolest intelligent superheroes the universe has ever revealed in their incredible, jaw-dropping action scenes when “Fantastic Four” (3D) opens in cinemas on August 6 in the  Philippines.

Roland Emmerich’s Highly anticipated Sequel to “Independence Day” to Begin Production

ALBUQUERQUE, NM — April 21 –New Mexico Film Office Director Nick Maniatis announced today that principal photography is scheduled to begin, May 4, on the sequel to “Independence Day.” Twentieth Century Fox releases the film in theaters worldwide on June 24, 2016 (June 23 in the Philippines).

After “Independence Day” redefined the event movie genre, the next epic chapter delivers global catastrophe on an unimaginable scale. Using recovered alien technology, the nations of Earth, anticipating the invaders’ return, have collaborated on an immense defense program to protect the planet. But nothing can prepare us for the aliens’ advanced and unprecedented force. Only the ingenuity of a few brave men and women can bring our world back from the brink of extinction.

The film stars Liam Hemsworth (“Hunger Games”), Charlotte Gainsbourg (“Nymphomaniac”) , Jeff Goldblum (“Independence Day”), Vivica A. Fox (“Independence Day”), Bill Pullman (“Independence Day”), Judd Hirsch (“Independence Day”), Jessie Usher (“When the Game Stands Tall”), Joey King (“The Conjuring”), Brent Spiner (“Star Trek: The Next Generation”), and Travis Tope (“The Town that Dreaded Sundown”). Dean Devlin (“Independence Day,” “Godzilla”), who produced the original film, produces with Roland Emmerich and Harald Kloser (“2012,” “The Day After Tomorrow”). Larry Franco and Carsten Lorenz are the line producers. Ute Emmerich is the executive producer.

“I’m beyond excited to bring the sequel to ‘Independence Day’ to New Mexico,” said Director Roland Emmerich. “With their state of the art Albuquerque Studios, the robust tax incentive program, the proximity to Los Angeles and last not but least its talented cast and crew make New Mexico a great fit for my movie.”

“We are pleased to continue our excellent relationship with Twentieth Century Fox,” said Mr. Maniatis. “We welcome Roland Emmerich and his talented team to New Mexico. In all, the production will employ approximately 300 local crew members and more than 4,000 local background talent.”

“Albuquerque welcomes the sequel to ‘Independence Day’ to our city,” said Mayor Richard J Berry. “We support the movie industry and the movie industry supports our economy; it’s a great thing for everyone.”

 The film’s creative production team includes Oscar®-winning visual effects supervisor Volker Engel (“Independence Day,” “2012”), director of photography Markus Förderer (“Stonewall”), production designer Barry Chusid (“The Day After Tomorrow,” “2012,” “San Andreas”), editor Adam Wolfe (“White House Down”), and costume designer Lisy Christl (“Point Break,” “White House Down”).

Meet the directors of Shaun The Sheep: The Movie

To the outside world, three people are mainly associated with the extraordinary success story of Aardman Animation – co-founders Peter Lord and David Sproxton, and the acclaimed writer-director Nick Park have all found fame. Yet within Aardman’s Bristol offices and studios, another man enjoys legendary status among employees. He’s known to one and all as “Golly”, but his real name is Richard Starzak, one of the two directors of Shaun The Sheep The Movie. His nickname is due to the fact he was born Richard Goleszowski, a name he went by for many years before changing his surname. He joined Aardman in 1983, and was Lord and Sproxton’s first employee. He initially stayed with the company for nine years, worked on and off for them during a long freelance spell, and rejoined Aardman full-time in 2005.

In his earlier years he worked on Aardman’s landmark series Morph, and directed episodes of Rex the Runt (which he had devised) and Creature Comforts for Aardman. He worked (with Park) on Peter Gabriel’s groundbreaking 1986 pop video Sledgehammer, and in 2007 devised and directed the first Shaun the Sheep TV series, also writing several episodes.

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“Golly joined us straight out of college in Exeter,” Lord recalls. “He was always an ideas person first and foremost. His drawings were quirky, his animation was quirky, and creatively he was different from the rest of us.

He was punk, if you like. He came as an animator studio jack-of-all-trades.

“He always had this very strong sense of comedy. His humour was very sardonic, derived from his Polish ancestry. It was British but also Eastern European.

“It was very different from Nick’s humour. Rex the Runt was spectacularly different from Wallace and Gromit. Golly would create these Morph sequences that were quite bizarre. He did a bit of everything — Morph, TV commercials, pitching ideas for story boards, and an animated part of Sledgehammer set on a roller-coaster.”

“I always knew he was different. To get him to be like me or Nick was never going to happen.”

Park admires the way Starzak took the idea of a TV series for Shaun and made it his own: “He had a strong vision for it and ran with it. It’s been getting an audience of both children and adults. I’ll sing Golly’s praises on that, because it does play to the 8-9 year olds, but it’s somehow got the adults interested too. It’s the wry humour, the cultural references to movies.

“I’ve grown up with Golly in the company. We were both taken on around the same time. We were doing Morph episodes back then, constantly talking about the Beano, and comics we loved as children – the Bash Street Kids and all that. And then he went out and did Rex the Runt.

“The way I feel about my characters is – how do you let them go? You feel that sense of ownership. I’ve never been able to let Wallace and Gromit go. So Shaun has been a great experience for me. I was in the middle of Curse of the Were-Rabbit, so I didn’t have much time to spend on developing the TV series. So what I did at first with Shaun feels quite small now. It’s become a much bigger phenomenon.”

For his part, Starzak has now experienced with Shaun the sense of ownership that Park describes:

“I never really got it when Nick would say Wallace and Gromit had become real to him. Now I sort of understand that. You’ve been fleshing out a character like Shaun for so long, you feel like you know him.”

Burton joined Starzak in directing duties, completing what Lord calls “a double act.” His background is in comedy writing; he has credits in British TV, including Room 101, Never Mind the Buzzcocks and Have I Got News For You. Says Lord: “Mark did some writing on Chicken Run for us, then he got the chance to work at DreamWorks (Burton was a writer on the first Madagascar film, which kick-started the hugely successful franchise). And then he came and did a heroic writing job for us on Curse of the Were-Rabbit.

“He has the experience no one else here has — of mainstream TV and radio comedy, that understanding of how comedy works. We make funny films, but there’s a lot of people out there who do comedy professionally, live or on TV or radio, and if you have any sense you tap into that. So that’s what Mark does for us.”

Like the animators and model-makers, both directors have their favourite characters in Shaun The Sheep The Movie, aside from Shaun. “You find yourself relating to The Farmer,” says Burton, laughing.

“He’s vaguely absurd, he’s put upon a bit, but he’s doing his best.” “I’m very fond of Bitzer,” admits Starzak. “He gets it from both sides. He’s an example of that older brother type, like a go-between with parents on one side and younger kids on the other. He’s a recognisable type. He likes control, he wants control, but he can’t get it anywhere.”

Shaun The Sheep : The Movie is released and distributed by CAPTIVE CINEMA.


First Look: Oscar Isaac & Garrett Hedlund Star in William Monahan’s ‘Mojave’

After scripting thrillers like The Departed, Body of Lies and Edge of Darkness, in addition to making his directorial debut with London Boulevard’, screenwriter William Monahan is back behind the camera a new thriller called ‘Mojave’. Here the first photos of the film with future Star Wars actor Oscar Isaac and TRON Legacy lead Garrett Hedlund.

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‘Mojave’ is written and directed by William Monahan, director of London Boulevard and Oscar-winning screenwriter of Martin Scorsese’s The Departed, Edge of Darkness and Body of Lies. Armed with little more than a knife and two handles of vodka, an on-edge desolated, violent Hollywood director (Garrett Hedlund of TRON Legacy) sets out to the Mojave Desert looking for solitude. But what he ends up finding is a homicidal, chameleon-like drifter (Oscar Isaac of A Most Violent Year) brandishing a rifle and claiming to be the Devil.


MOJAVE is released and distributed by CAPTIVE CINEMA.

Baa-hind the scenes of Shaun the Sheep: The Movie.

Is Aardman Animations about to have its biggest hit at the box office? The Bristol-based company behind Wallace and Gromit is quietly hopeful that after several successful but not quite blockbuster-level movies, including Flushed Away and Arthur Christmas, they might have a global franchise on their hands: all thanks to an unassuming sheep called Shaun.

Farmer runs past flock. Grant Maisey, Animator

First glimpsed in a small role rescuing Gromit from jail in 1995 short film A Close Shave, the sparky Shaun has since surpassed odd couple Wallace and Gromit to become Aardman’s most commercially successful creation.

 “Wallace and Gromit have been loved for so long but in terms of sheer international exposure Shaun The Sheep is the most successful,” says Peter Lord who co-founded Aardman Animations with David Sproxton in 1976.

Quite so. The TV series chronicling his misadventures, launched in 2007, is a smash in 170 countries.

Now he has his own film, Shaun The Sheep Movie, a baa-rnstorming  romp (stop-motion animated in the Aardman tradition) brimming with visual invention, brilliantly crafted set-pieces.

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Co-writer and co-director Mark Burton describes it as “a slapstick comedy without words” and the silent storytelling aspect is certainly one reason the series travels so well, a la Mr Bean.

“The shows are so rich visually,” says Lord. “I’m not going to say anything negative about the competition but very often when you look at other kids’ series which are dialogue or narration based they’re sweet and the stories are well told but they’re not funny. Shaun is funny the whole time because it’s so visual.”

Nevertheless, the decision to make Shaun dialogue free was initially a practical one says Richard Starzak, the Aardman animator who devised the series and co-wrote and co-directed the movie with Burton, whose credits including Aardman’s Chicken Run and Dreamworks’ Madagascar.

“The original idea of having no dialogue was actually to make the animation easier because animating dialogue is quite lengthy and expensive,” Starzak said.

Although the character was conceived by Wallace and Gromit creator Nick Park it was Starzak, an Aardman employee on and off since 1985, who is credited with steering Shaun to international pastures.

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Says Lord: “In terms of making Shaun who he is today, I think that’s Richard’s great achievement.”

Of Polish origin and known as “Golly”, the softly spoken Starzak nursed the idea of a feature film from the first series. “It felt like it had a lot of potential to tell longer form stories because it had an emotional heart. Even as a TV series it punched above its weight.”

Having originally devised the series as a kind of workplace comedy in which the flock were pitted against their masters, Starzak created more of a family dynamic between the characters with Shaun as the naughty little brother, Bitzer the big bro trying to keep order and the farmer the hapless parent.

The question was how to advance from seven-minute episodes to an 80-minute feature film. “It’s very hard to tell a story visually over 90 minutes” says Burton whose background includes writing for TV comedies like Have I Got News For You and Room 101.

“You need an idea that is simple enough to be comprehensible but not so simple that the story drags.” 

The idea they hit on combined simplicity, scale and plenty of potential for sheep-out of-water comedy: remove Shaun and pals from the “comfort zone” of the farm and plonk them in a city (called Big City in the film but loosely modelled on Bristol).

An unlikely inspiration was 1985 teen classic Ferris Bueller’s Day Off: Shaun plots to take a day off from the farm’s mind-numbing routine but things go awry when the slumbering Farmer freewheels into the city in his caravan.

“Ferris Bueller was a big influence because we loved the idea of a character who was ebullient and street smart and changes the world around him,” explains Burton.

There’s also an undercurrent of melancholy to the story reminiscent of the Pixar movies as Shaun’s attempt to jazz up his life disguises a sadness at his stale relationship with Farmer.

 “You need the emotion to make the comedy funny,” says Burton.

As an Aardman outsider who works both for the company – he co-scripted the Oscar-winning Wallace And Gromit: Curse Of The Were Rabbit – and Hollywood studios Burton is well placed to comment on the secret behind Aardman’s success.

“We discuss this quite a lot. What is the Aardman thing? I think it’s something to do with taking epic ideas, like prison escape in Chicken Run, and doing a very Aardman, quirky British version of it,” he says. “And we all come from a similar background watching British sitcoms and Morecambe and Wise and there’s a bit of that DNA there too.”

Shaun The Sheep Movie marks Aardman’s break with Hollywood: its previous four movies were made in conjunction with studios Dreamworks and Sony. Shaun is a collaboration with French production and distribution company StudioCanal and Peter Lord says it feels more of a natural fit for the company.

“When you make a Hollywood movie there’s always an awareness of the American market rumbling away. That background pressure is just deep in the movie culture. With StudioCanal we’ve enjoyed more freedom. It’s been great,” says Lord.

Shaun The Sheep Movie is in cinemas on April 29.

Nationwide !

Released and distributed by CAPTIVE CINEMA.


From highly acclaimed and world-renowned filmmaker, Sir Ridley Scott produces the latest edgy and thrilling action “Child 44” directed by the inventive Daniel Espinosa, known for his “Safe House” directorial debut starring Denzel Washington and Ryan Reynolds and who also helmed “Snabba Cash,” the highest-grossing movie in Swedish history.

“Child 44” casts a very impressive set of actors ever assembled on screen led by Tom Hardy and  Gary Oldman along with Noomi Rapace, Vince Cassel, Joel Kinnaman and Jason Clarke, the movie is based on author Tom Rob Smith’s best-selling novel “Child 44” set against the backdrop of 1953 Stalinist Russia.

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Hardy stars as Leo Demidov, a recognized war hero who also rose from the ranks to be the MGB’s top investigator within the Soviet system married to a schoolteacher Raisa (Rapace).  Soon, Raisa is suspected of being a spy and Leo is forced to investigate and denounce his wife.  Leo’s refusal to denounce Raisa, Leo is then relocated and demoted to the city of Volsk where General Nesterov reigns (Oldman).  From his post in Moscow where Leo has discovered the murder of his friend’s son that had been mantled as a freak accident, the same crime continues in Volsk.  Fuelled by their passion to uncover the truth, with the help of Nesterov, Leo and Raisa tread dangerous grounds to catch the serial killer before another child dies. Meanwhile, Leo’s sadistic colleague, Vasil (Kinnaman), who’s been after his post is relentless in pursuing the couple in the midst the couple’s search for the killer.

Hardy impressed moviegoers as a violent convict in Bronson, then broke through to a global audience with his portrayal of the evil Bane in “The Dark Knight Rises,.” More recently he earned both critical and popular acclaim for his role as a Brooklyn bartender with a dark secret in “The Drop.” Hardy says he was attracted to the project by the moral complexity of his character—and the script as a whole.

 On casting Raisa, Scott introduced Rapace to “Child 44” in Los Angeles when he cast her in his 2012 sci-fi epic “Prometheus.”   When she learned Espinosa would be directing, Rapace was thrilled. Rapace was also pleased to be back on set with Hardy.  Rapace’s portrayal of meek schoolteacher Raisa Demidova marks a dramatic departure from the role that brought her to international attention, the nail-tough title character in “The Girl with the Dragon Tattoo.”

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Swedish actor Joel Kinnaman, who first worked with Espinosa in Snabba Cash, enjoyed the challenge of developing treacherous secret-police bureaucrat and sadistic Vasili as a three-dimensional character.  Kinnaman broke through to American audiences when he co-starred as slacker detective Stephen Holder in the cable television crime series “The Killing” and continued to star in “Robocop.”  His most recent role is opposite Liam Neeson in “Run All Night.”

For Academy Award® nominee Gary Oldman, the weary provincial police chief General Mikhail Nesterov he portrays in Child 44 embodies the moral compromises many citizens had to make in order to survive Stalinist-era politics. “There was so much emotional, physical, and psychological terror in Stalinist society that a character like Nesterov just turns a blind eye to it all,” he says of his role.

A gripping edge-of-your-seat thriller, “Child 44” opens April 29 exclusively at Ayala Malls Cinemas nationwide.



For the first time in so many long years, in this day and age, the art of written love letters from a man whose sensibilities women these days are looking for comes to the fore in the romantic endearing movie “The Longest Ride” based on Nicholas Sparks’ bestselling book of the same title.  Jack Huston stars with Oona Chaplin, Britt Robertson, Scott Eastwood and Alan Alda in “The Longest Ride,” which follows two intertwining love stories and the courage it takes to make marriages work in the long term.

In 1940, we meet Ira (Huston), who works in his family’s store and is entranced by Ruth (Chaplin), an artistic Austrian immigrant. They embark on a relationship that survives in the face of many obstacles.  In the present day, Sophia (Robertson), an art history student meets Luke (Eastwood), a bull rider. Like Ruth and Ira, they come from different worlds but fall in love.  Their lives intersect when Luke and Sophia rescue Ira, now an elderly widow (played by Alan Alda) who has been seriously injured after his car crashed. In the wrecked car Sophia discovered a box containing a precious stash of letters, written by Ira to his beloved wife Ruth over the course of many years. Sophia returns the box to Ira and reads the letters aloud to him. They develop a friendship as Ira reflects back on his fascinating life.

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The filmmakers knew it would take a strong actor to portray Ruth’s husband, Ira, someone who would match Chaplin’s formidable energy and with whom she would have great chemistry.  Jack Huston filled that bill.  “Jack was fantastic,” says executive producer Robert Teitel.  “We knew his work from Boardwalk Empire, but his character in The Longest Ride was the trickiest to find.”

Personally, in a very similar way to his character (young) Ira, Huston is more of a letter writer than a social media enthusiast, “I have a Twitter account but I am the worst tweeter. But I’ve always been a letter writer. I only started emailing about three years ago; I am not a techie person. I’m just not attuned to it.  Letter writing was very much ingrained in me from a very early age. My father used to write me letters and he got me into the practice of writing very personal letters. I’m going to be honest and say I haven’t written any letters recently, but if I do receive a letter, common courtesy and etiquette would always be to write one back; and then normally you get another one, so what follows is a wonderful long correspondence between two people, which is beautiful,” Huston relates.

The story’s romantic elements drew Huston to the film.  “The theme of enduring love is so beautiful,” he explains.  “I loved the challenge of making an authentic love story.  I wanted to explore the reality of love rather than its fabrication.  I do believe in it all. There is that initial romantic honeymoon period when you first meet someone, when you think you’re in love, but at that point, it could just be an obsession or passion. You know, love is really what happens after the honeymoon period, when you build a life together. It is getting to know all the quirks, which people sometimes say are bad things, but actually they end up being your favorite things about someone. It is knowing that you can do or say or be anything and that the other person will still love you. To me, a soul mate is like the counterpart of yourself, it’s the person with whom you feel the yin and yang. The best relationships work that way. It is a stronger and deeper love than you experience in the initial honeymoon period. You love spending time with each other, being in a room together without having to say a word,” shared Huston.

Experience the power of enduring love in “The Longest Ride” when it opens April 15 in theatres nationwide from 20th Century Fox to be distributed by Warner Bros.


Everyone knows what it is like to be sort of the underdog…especially in high school.  In the teen movie “The Duff” based by author Kody Keplinger’s book of the same name, the relatable and of-the-moment stuff of growing up and the struggle to fit in is explored in “The Duff” that will open this April 15 in cinemas (Phils.).

“As everybody transitions from youth to adulthood you get into those private moments of sharing when you realize the universal message that everybody has their stuff – their insecurities, their feelings of DUFFness,” explains producer McG. “And to some degree we have a bit of that struggle our entire lives. That is why I think the movie will appeal to a broader audience than just girls and teens.”

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To fill the role of the pivotal and titular DUFF (Designated. Ugly. Fat. Friend.) a.k.a. Bianca Piper, producers turned to the young but experienced film and TV actress Mae Whitman, who unbeknownst to them at the time of casting, was Keplinger’s choice for the role.

The filmmakers agreed that the DUFF in the film needed to be someone who was not unattractive or unintelligent, but rather someone who just doesn’t quite measure up to her group of friends in the high school rating system. Whitman hadn’t heard of the term DUFF before she was given the script.  But as soon as she read it, she thought it was an important story to be told and one that spoke to her personally.  “The story is important to me because I’ve grown up in this industry and have had to struggle with being put in certain categories my whole life,” says Whitman.

In talking about the characters of Casey and Jess, Bianca’s best friends played by Bianca Santos and Skyler Samuels respectively, Keplinger stresses that, although Bianca’s best friends are stunningly gorgeous, they are good friends to her.  It is only after Bianca is pointed out as their DUFF that she begins to feel inadequate around her own friends.  “Just because Bianca feels inadequate around them does not make them bad, especially when you consider that they feel inadequate in some ways too,” says the author.

For the role of Wesley Rush, producers had to find someone to play the quintessential handsome jock who has been categorized as dumb and shallow.  The producers found Canadian-born actor Robbie Amell (“The Flash,” “Tomorrow People”) to portray this surprisingly complex guy.  Amell had concerns about making a teen comedy until he read the script. “It is tough to make one that feels real and grounded,” he says. This script felt like one of the special ones that will endure the test of time. The message speaks to anyone’s insecurities and ways to deal with them, embrace them or overcome them.”

The filmmakers were challenged with creating and casting Bianca’s nemesis – Madison Morgan (played by Bella Thorne), a character that does not exist in the book. But Madison, like everyone else, is equally insecure so her attitude is her defense mechanism.”

“The idea of doing a coming of age film that also deals with bullying, which is really in the zeitgeist right now with everything happening on the internet, and how pervasive social media is in high school life, really intrigued me actually,” says director Sandel.

“Texting and all this stuff, it’s a whole new ballgame as far as bullying, and it’s rampant,” says Whitman.  “It’s rampant everywhere in America right now. There’s this whole mentality of ripping other people down. And it sort of is perpetuated on the internet so I think it’s a cool new twist to be illuminating how horrible that stuff is, because it’s really bad.”

To capture the range of high school styles, from Bianca’s DUFF look – and later her homecoming dance dress – to the teen chic looks of Jess and Casey and the sexier school look of Madison, all of which play an integral part of the film, the team brought in costume designer Eric Daman, who had earned a stellar reputation for his costumes on many modern projects, most notably The Carrie Diaries (the Sex and the City prequel) and Gossip Girl.

“This is a very female-centric, female-driven film, so one thing I wanted to do was surround myself with people who I thought would really bring an expertise on what teenage girls are into and what they find, you know, acceptable. Wardrobe is really important. So I teamed up with Eric Daman who brought a really interesting perspective,” says Sandel. “Eric and I agreed we wanted a toned down vibe to the styles. If people notice the wardrobes then we’re not doing it right. It’s got to feel really regular and down-to-earth. I think that was something different than what Eric’s done typically and I think he nailed it. I mean, he’s really good at the nuance and he’s really known for his fashion style and being able to do casual but still make it cool and chic.”

“The Duff” is from Pioneer Films that will open in cinemas nationwide this April 15.


Recent estimates and predictions at the box-office certify that Nicholas Sparks’ most charming love story “The Longest Ride” is climbing to blockbuster status amidst strong competition.  Produced by blockbuster makers Marty Bowen and Wyck Godfrey who made films such as the “Twilight” series, “The Fault In Our Starsm,” “Dear John,” “Safe Haven” and the upcoming “Maze Runner: The Scorch Trials” and “Paper Towns,”  “The Longest Ride” poises to be one unforgettable and lingering love story to have been adapted on film.


“The Longest Ride has an epic quality that applies to both love stories,” continues the author.  “It covers the love story between Ruth and Ira, which starts before World War II, and it’s contrasted with the entirely different world of professional bull riding.  What differentiates this film from the other adaptations of my work is its epic quality and the dual love story.  It’s about the way the two love stories come together.”

Sparks continues: “When you meet the person with whom you fall in love, the feeling’s the same, whether you’re in the 1930s or in the present day.  Everybody goes through the same emotions. There’s universality to the way we feel and that’s what I wanted to show.  I think the fun of the film is trying to figure out how on earth these two stories are going to come together in the end.”

Scott Eastwood plays Luke, a bull rider who meets Sophia (Britt Robertson), an art history student who hit it off right away.  One fateful day they are driving along a country road in treacherous weather and notice a car in flames on an isolated embankment. Trapped inside the car is Ira (Alan Alda). The young couple rescue him and take him to the nearby hospital. Sophia accompanies Ira to the hospital, bringing a box of letters that she had found in the wrecked car. They were written by Ira to Ruth, the love of his life, during the course of their long marriage. As Ira recuperates, Sophia reads the letters aloud to him and learns about Ira and Ruth’s story: how Ira went off to fight in World War II, how he returned a changed man. She learns that Ruth, who died several years ago, was an art lover and the couple collected paintings over half a century.  As Ira reflects back on his life, Sophia also finds out how Ira and Ruth navigated a long marriage that was always loving, but rarely free from obstacles, some formidable. It emerges that there are parallels between Ruth and Ira and Sophia’s own relationship with Luke.

An interesting theme in “The Longest Ride” is the multi generational nature of the story. What’s also fascinating is that coincidentally, four out of the five leading actors come from generations of esteemed filmmakers and artists. Acting, they all say, is in their DNA. Oona Chaplin’s grandfather was Charlie Chaplin and she is the great granddaughter of American playwright Eugene O’Neill. Her mother is the actress Geraldine Chaplin; her father is Chilean cinematographer Patricio Castilla. Scott Eastwood is the son of Clint Eastwood. Alan Alda’s father was the actor Robert Alda.   Jack Huston is the grandson of the legendary director John Huston. He is the great grandson of the Oscar winning actor Walter Huston, the son of Oscar nominated screenwriter Walter Anthony (Tony Huston), and the nephew of actors Danny and Anjelica Huston.

Opening this April 15 in cinemas nationwide from 20th Century Fox to be distributed by Warner Bros., “The Longest Ride” explores the magic of falling in love, but also the courage it takes to make marriages work in the long term.