Elliot Page Admits Filming ‘Inception’ Gave Them Stress-Induced Shingles

Variety, in wake of the exit of network head Pola Changnon this week. Warner Bros. Discovery CEO David Zaslav had been considering bringing in De Luca and Abdy for some time, insiders said, to rely on their cinephile instincts and shape the best possible programming slate for the channel — one beloved by Hollywood titans and film fans for its showcase of film history. TCM will still exist with the US Networks Group run by Kathleen Finch. While De Luca and Abdy will advise, a senior executive in charge of operations is expected to be named in the future. Warner Bros. Discovery had no comment on the matter.

Titanic director James Cameron has claimed he knew the missing OceanGate submersile had imploded and its occupants were dead on Monday.

five people going missing underwater amid an attempted visit to the ship's crash site. "Was today year old when I found out the Titanic was real…. that’s wild lowkey," Humphrey wrote on Twitter.

Next month, Christopher Nolan‘s “Oppenheimer” faces off against Greta Gerwig‘s “Barbie” on its opening weekend, a showdown that very well may christen the summer’s biggest movie. In “Barbie,” moviegoers know what to expect, a smart, quippy film from Gerwig with a meta twist on its subject.

Zack Sharf Digital News Director Christopher Nolan has a warning for anyone purchasing “Oppenheimer” tickets: The film might emotionally destroy you. Speaking to Wired magazine in a new interview, Nolan said that some early “Oppenheimer” viewers have had a visceral reaction to the film, which follows theoretical physicist J. Robert Oppenheimer (Cillian Murphy) as he creates the atomic bomb to end World War II. “Some people leave the movie absolutely devastated,” Nolan said about early screenings. “They can’t speak. I mean, there’s an element of fear that’s there in the history and there in the underpinnings. But the love of the characters, the love of the relationships, is as strong as I’ve ever done.”

“Like it or not,” declared Christopher Nolan at CinemaCon in April, “J. Robert Oppenheimer is the most important person who ever lived. He made the world we live in, for better or for worse.”

Universal trotted out a dog, some “possessed” girls and a Wicked light show, during its CineEurope presentation here in Barcelona, while also celebrating the studio’s force in the animated space and touting next month’s Oppenheimer from Christopher Nolan. All this followed a reel of filmmakers heralding the cinema experience which it had previously shown at CinemaCon in April.

Zack Sharf Digital News Director Christopher Nolan got honest about artificial intelligence in a new interview with Wired magazine. The Oscar-nominated filmmaker says the writing has been on the wall about AI dangers for quite some time, but now the media is more focused on the technology because it poses a threat to their jobs. “The growth of AI in terms of weapons systems and the problems that it is going to create have been very apparent for a lot of years,” Nolan said. “Few journalists bothered to write about it. Now that there’s a chatbot that can write an article for a local newspaper, suddenly it’s a crisis.” Nolan said the main issue with AI is “a very simple one” and relates to the technology being used by companies to “evade responsibility for their actions.”

This story about director the visual effects design of “Andor” first ran in the Drama Series issue of TheWrap’s awards magazine.For Disney+’s “Andor,” an erudite elucidation of the prequel universe first seen in the film “Rogue One: A Star Wars Story,” visual effects supervisor Scott Pritchard took things back to basics in real locations, despite having technology that in 1977 might have made George Lucas Vader-breathe with envy.“I’m very much of the opinion that first and foremost, we’re storytellers,” Pritchard, who first joined ILM with 2015’s “The Force Awakens,” said. “We’ve got to drive the story forward.

Elliot Page isn’t done pushing for change.

McKinley Franklin editor Historian Kai Bird, co-author of the 2005 book that inspired Christopher Nolan’s “Oppenheimer,” has shared his thoughts about the upcoming film, revealing that he has high hopes for how it can resonate with the public during a conversation with David Nirenberg at Leon Levy Center for Biography in New York. “I am, at the moment, stunned and emotionally recovering from having seen it,” Bird said. “I think it is going to be a stunning artistic achievement, and I have hopes it will actually stimulate a national, even global conversation about the issues that Oppenheimer was desperate to speak out about — about how to live in the atomic age, how to live with the bomb and about McCarthyism — what it means to be a patriot, and what is the role for a scientist in a society drenched with technology and science, to speak out about public issues.”

Rebecca Rubin Film and Media Reporter “The Flash,” a superhero adventure starring Ezra Miller, emerged victorious over Pixar’s “Elemental” in a battle of the box office lightweights. This weekend’s two new releases were once expected to ignite the summer box office but instead entirely missed the mark, as “The Flash” stumbled with $55 million and “Elemental” collected just $29.5 million in their respective debuts. Both of those films fell short of already-low expectations. And worse, they were pricy endeavors, costing $200 million to make and roughly $100 million to market, so they are shaping up to be huge disappointments in their theatrical runs. In the lead-up to “The Flash,” executives at Warner Bros. worked hard to convince the public that the film is “one of the greatest superhero movies ever made.” Directed by Andy Muschietti, the story picks up as Miller’s Barry Allen a.k.a The Flash travels back in time to prevent his mother’s murder and inadvertently cracks open the DC multiverse. (Cameos abound!) But its tepid “B” CinemaScore from opening weekend crowds suggests that the moviegoing masses didn’t entirely agree with the lavish praise bestowed on the film by the people who made it. Without positive audience scores or strong word-of-mouth, “The Flash” will struggle to rebound in the coming weeks, especially as summer season heats up with the release of “Indiana Jones and the Dial of Destiny” on June 30, “Mission: Impossible 7” on July 12 and Christopher Nolan’s “Oppenheimer” on July 21.

Following the release of Elliot Page’s memoir PageBoy, the actor reveals why now was the right time to share his story with the world and elaborates on the chapters where he talks about his childhood and his mother, who grew to support his identity.

One of the many headline-making anecdotes in Elliot Page’s new memoir Pageboy involves a chapter in the book titled “Famous A**hole at a Party.”

Upon detailing his journey to finding happiness in his new memoir Pageboy, Elliot Page reveals whether he’s swiping right and left on dating apps and searching for a partner in his life.

Rebecca Rubin Film and Media Reporter There’s been a battle brewing between two of Hollywood’s blockbuster talents. In one corner, Tom Cruise is gearing to take a victory lap from the behemoth success of “Top Gun: Maverick” with a sequel to his other big action franchise, “Mission: Impossible – Dead Reckoning Part One.” It’s expected to be one of the biggest movies of the summer when it opens on July 12. In the other corner, Christopher Nolan, one of the few directors so famous that his name alone can draw crowds, is readying to release his highly anticipated “Oppenheimer.” The big-budget drama about the creation of the atomic bomb launches just a week later on July 21.

The Directors Guild of America has released a new video of associate directors and stage managers touting their support of the guild’s tentative agreement for new film and TV contract. The pact, which covers directors and members of their teams, is being put to the members for ratification.  

Elliot Page has said working on the reboot of Flatliners was “a true mess”.The Umbrella Academy star – who appeared in the 2017 remake of the ’90s psychological horror thriller – has alleged in his new memoir Pageboy via Entertainment Weekly that there were unsafe stunts, racism, misogyny and queerphobia on the set.In a chapter dedicated to Flatliners, Page wrote about a scene in which he says that he and co-star Kiersey Clemons felt they were not protected during the filming of a stunt.“We were getting ready for a car stunt when Kiersey and I realised that everyone had a built-in thick seat belt, except for us,” Page wrote. “No restraints, a basic safety measure of the carefully orchestrated, expensive, and elaborate stunt that hadn’t been thought through… We looked to the various stunt crew members strapping the others in, perplexed, questioning why we weren’t being secured for the scene.

“The Flash”. Releasing on June 16th, the DC film hailed by James Gunn as one of the greatest superhero movies ever made finds Ezra Miller getting their own solo movie, complete with crossover into multiple eras of DC films in dream team-ups that we never thought were possible, such as bringing back Michael Keaton as Batman (and plenty more cameos).

On July 21, film fans will have a big choice to make. Do you go to the theater to see Greta Gerwig’s “Barbie” or Christopher Nolan’s “Oppenheimer?” Well, adding a new wrinkle to that is the fact that Lionsgate is releasing a horror movie, “Cobweb,” to counter-program the two big releases.  READ MORE: Summer 2023 Movie Preview: 52 Must-See Films To Watch As seen in the trailer for “Cobweb,” the film follows the story of a young boy who hears a tap-tap-tap from inside his bedroom wall each night.

Zack Sharf Digital News Director Elliot Page writes in his new memoir, “Pageboy,” that filming the 2017 “Flatliners” remake was “a true mess from the very beginning” and a “shit show” due to unsafe stunt work and instances of racism and queerphobia on set (via Entertainment Weekly). Or, as Page puts it: “It went off the rails.” In an entire chapter devoted to the making of the Niels Arden Oplev-directed thriller, Page alleges he and co-star Kiersey Clemons were put in unsafe working conditions during one stunt scene. “We were getting ready for a car stunt when Kiersey and I realized that everyone had a built-in thick seat belt, except for us,” Page writes. “No restraints, a basic safety measure of the carefully orchestrated, expensive and elaborate stunt that hadn’t been thought through… We looked to the various stunt crew members strapping the others in, perplexed, questioning why we weren’t being secured for the scene. ‘Why does everyone else have a safety belt but not us?’ we’d inquired.”

It’s summer movie season and there’s a big box office battle brewing in July.

EXCLUSIVE: Time has today unveiled Person of the Week, its first original podcast, hosted by Senior Correspondent Charlotte Alter, which will feature candid conversations weekly with the people shaping our world.

If you were ever questioning just how powerful Christopher Nolan is in Hollywood, look no further than the situation that developed between the filmmaker and Warner Bros. during the pandemic.

Elliot Page has detailed his experience filming the reboot of Flatliners, describing it as “a true mess”.The Umbrella Academy star – who appeared in the 2017 remake of the ’90s psychological horror thriller – has alleged in his new memoir Pageboy (via Entertainment Weekly) that there were unsafe stunts, racism, misogyny and queerphobia on the set.He first detailed a scene in which he and co-star Kiersey Clemons found themselves performing a stunt without adequate safety measures.“We were getting ready for a car stunt when Kiersey and I realised that everyone had a built-in thick seat belt, except for us,” Page wrote. “No restraints, a basic safety measure of the carefully orchestrated, expensive, and elaborate stunt that hadn’t been thought through… We looked to the various stunt crew members strapping the others in, perplexed, questioning why we weren’t being secured for the scene.

Addie Morfoot Contributor At Tuesday’s New York’s premiere of Wes Anderson’s “Asteroid City,” the star-studded cast had plenty to say about Hollywood’s writers strike. Scarlett Johansson, Adrien Brody, Bryan Cranston and Rupert Friend revealed how they really feel about the face off between the Writers Guild of America and the Alliance of Motion Pictures and Television Producers while walking the beige carpet at Lincoln Center’s Alice Tully Hall. “Whatever happens moving forward will forever change how revenue is determined,” Johansson told Variety. “It’s a thing that has needed to happen for a long time, that we’ve been talking about for a long time, and it’s finally reached this breaking point. It’s important for all of us creatives to unite and support this massive shift so we can get over to the other side, which we will.”

SPOILER ALERT: These interviews contain spoilers from the Season 6 “Black Mirror” episodes “Joan Is Awful,” “Mazey Day” and “Beyond the Sea,” now streaming on Netflix. Back after a four-year hiatus, the long-awaited sixth season of “Black Mirror” opens — fittingly — with “Joan is Awful,” an exploration of the dubious inner workings of a fictional streaming service called Streamberry. Streamberry, which bears more than a passing resemblance to “Black Mirror’s” IRL producing partner Netflix, co-opts users’ lives to create AI-driven, CGI-rendered semi-fictional dramas without its subjects’ consent. Kind of like, say, “Inventing Anna” (which had the consent of the eponymous Anna Delvey, but not her erstwhile BFF Rachel Williams, who sued the streamer for defamation last year) or “The Crown” or “The Tinder Swindler” or “Narcos” or… you get the gist.

The Directors Guild’s tentative agreement for a new film and TV contract “is the biggest we’ve ever negotiated” and “is almost double what we got last time,” former DGA President Paris Barclay says in a new video posted on the guild’s website featuring members touting the deal.

Matt Donnelly Senior Film Writer From “Avengers” sequels to “Transformers” flicks, so many summer blockbuster end with cities on fire and the fate of the world hanging in the balance. Those moments are usually conjured up by CGI. But major studios looking to promote the hell out of their July or August releases may be in a bind that even Superman can’t fly past. A looming actors strike may wreak havoc on the marketing campaigns for several major film releases — including Christopher Nolan’s “Oppenheimer,” Greta Gerwig’s “Barbie” and the franchise relaunch “Teenage Mutant Ninja Turtles: Mutant Mayhem” — leaving studios shifting their plans to get ahead of the June 30 deadline for a new SAG-AFRTRA contract.

Elliot Page is opening up about a role he turned down years ago and why he made that decision.

Elliot Page has detailed a painful battle with Shingles when he was just 22, partly due to the stress of his personal life and being surrounded by cis men while filming Inception. The actor became a household name overnight when he starred in classic teen movie Juno, and went on to appear alongside the likes of Leonardo DiCaprio, Joseph Goron-Levitt and Ed Hardy in the 2010 blockbuster. Inception was filmed before Elliot, then presenting as female, came out as gay, and a decade before he revealed he was transgender.

Elliot Page admits he had a hard time filming one of his biggest roles.In an excerpt from his memoir,, via,  the 36-year-old actor revealed that he felt «out of place» while filming 2010's  -- which led to a shingles flare-up that «popped out of my spine.» «Despite everyone being delightful to work with, I felt out of place...I did not understand the role I found myself in,» Page wrote, noting that he felt that way as a result of working with «a cast full of cis men.» The film was directed by Christopher Nolan and starred Leonardo DiCaprio, Joseph Gordon-Levitt, Tom Hardy and Cillian Murphy.Though he had no problems with the men on the set, the  star said he thought he would be recast by another famous actor at the time.«For the first two weeks of the film, I joked I would be recast with Keira Knightley, and rightfully so,» he wrote.Page came out as trans in 2020. In his book, the actor speaks about his rise from child stardom and opens up about his journey transitioning from female to male and the struggles the transgender actor has faced throughout his life.Inside the memoir, Page writes he was a victim of abuse and grooming, saying an unnamed director «groomed» him as a teenager.

Elliot Page claims he was “groomed” as a teenager. One week after the Juno actor’s tell-a

it’ll play throughout the week and is very much worth checking out. We talked about where the short came from, being mentored by Francis Ford Coppola and Warren Beatty and his upcoming work in Marvel’s “Ironheart” and Christopher Nolan’s “Oppenheimer,” where he worked alongside Robert Downey Jr.Was this something that you had wanted to do for a while?Yeah.

Charna Flam The Los Angeles County Museum of Art (LACMA) has announced the 2023 Art+Film Gala will honor Judy Baca and David Fincher. “Through his award-winning films, David Fincher tells compelling stories and sheds light on human psychology. His unique vision pulls the audience deeper into his cinematic world,” LACMA CEO Michael Govan said in a statement Tuesday morning. Fincher has remained a fixture in contemporary cinema, helming “Mank,” “Se7en,” “Fight Club,” “Zodiac,” “The Social Network,” “The Girl with the Dragon Tattoo” and “Gone Girl.” “Judy Baca is one of the most important American artists working today. Drawing inspiration from her hometown of Los Angeles, Baca gives permanence to local histories through her monumental artworks, such as ‘The Great Wall of Los Angeles,'” Govan said. “We are thrilled to honor Judy for her achievements, for her commitment to public art and for her impact in the cultural landscape of Los Angeles and beyond.”

Elliot Page (Oscar-nominee for “Juno” and star of Netflix’s “The Umbrella Academy”) and Hillary Baack (“Sound of Metal) will star in “Close to You.” The new film from the BAFTA-winning writer/director Dominic Savage (“The Escape” and “I am Ruth”) will be co-financed by Kindred Spirit, with Anita Gou and Sam Intili executive producing alongside Rolling Dice’s Nai Vazirani.Executive producers include Matt Jordan Smith of Page’s PageBoy Productions. Producers are Krishnendu Majumdar and Richard Yee who developed the project under their Me + You Productions banner in the UK and Daniel Bekerman and Chris Yurkovich of Good Question Media in Canada.