Tom Hardy to Be the Next Wolverine

Tom Hardy to Be the Next Wolverine

Hugh Jackman's fifteen year run as Wolverine is coming to an end, and if it were up to him, he'd pass the claws to one of Hollywood's hottest leading men.

"I haven't really given it a lot of thought," Jackman tells MTV of his replacement. "I've been asked that question a lot, and I'm always like, 'I don’t wanna make it too easy on the studio to replace me,' you know? I've still got one more to do.

I'm sure they're already talking about it, and there's some actor [they've told] 'shh, keep it quiet but we want you next.'"

While Jackman is keeping the studios next choice on the down low, he didn't mind sharing his personal pick to don the adamantium.

"He’s younger than me for sure," Jackman says. "I think Tom Hardy would be a great Wolverine."

Hardy's proven his action acting chops in everything from Mad Max: Fury Road to The Dark Knight Rises, and is currently scheduled for another stint in the comic book universe in the upcoming Hundred Bullets adaptation.

Jackman will reprise the role for the last time as a stand alone feature in The Wolverine, and there's a possibility he could make a cameo in X-Men: Apocalypse, Deadpool or Gambit.

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Ant-Man : Our Lovely hero

Ant-Man :  Our Lovely hero

Ant-Man" has been skittering around the development corridors of Hollywood so long, the earliest unproduced screenplays about the tiny superhero actually preceded the Disney film

"Honey, I Shrunk the Kids." That was another age (1989), decades before our present Age of Ultron — an epoch of expensive cheap thrills dictated by the steady, crushing rollout of so many Marvel movies that even the good ones start to seem like ants at an endless picnic.

But wait. The "Ant-Man" we have now before us, half-an-inch tall and played by genial, skillful Paul Rudd, turns out to be better company than you'd think possible in a multi-strand franchise lousy with corporate directives.

The plot's the same old thing. Mad, mad, mad, mad science; imminent apocalypse; parent/child issues; blah blah blaggidy blah. The tone of "Ant-Man," however, is relatively light and predominantly comic. Those who feel they need a break from the numbing destruction of the "Avengers"/"Captain America" movies will likely enjoy it.

"Ant-Man" is a frisky hybrid — part "Land of the Giants," part heist film a la "11 Harrowhouse," but with Rudd leading an army of ants against the villain, Yellowjacket, played by the excellent character actor Corey Stoll.

The set-up finds burglar Scott Lang (Rudd) getting released from three years in San Quentin. His ex-wife, Maggie (Judy Greer, never in a role big enough for her talent), has custody of their daughter (Abby Ryder Fortson).

The stepfather figure in the girl's life (Bobby Cannavale) is a sympathetic cop who doesn't like Lang's rap sheet and wonders if he'll continue his life of crime.

Lang and his old pals (Michael Pena chief among them) learn of a safe inside a mansion belonging to some old rich crank, just begging to be robbed. The crank is one Hank Pym (Michael Douglas, solid if a little dull), whose big secret involves something called the Pym Particle.

This enables humans to shrink down to ant size and then back up to human size, in a flash. Pym targets Lang for the next phase of the experiment, conducted with the surly but charismatic help of Pym's daughter Hope (Evangeline Lilly).

The shrink gimmick of "Ant-Man" is simple and fetching. It may appeal to the younger segment of the Marvel audience more so than the jaded older teenagers and adults accustomed to wearying mass slaughter and entire cities being lifted up in the sky.

The climactic smackdown between Rudd and Stoll takes place largely on a toy train set, and when director Peyton Reed cuts away from the close-up action to longer shots, the effect is very funny, as if a pair of invisible preteens were knocking around a Thomas the Tank Engine, happily.

We'll never know how much of what works in "Ant-Man" relates to the input of Edgar Wright ("Hot Fuzz," "The World's End," "Scott Pilgrim vs. the World"), the first director assigned to the movie. Reed ("Down with Love") replaced Wright, though Wright retains producer and co-screenwriting credit, along with Joe Cornish.

The second credited writing team, Adam McKay and Paul Rudd, presumably took things in a direction more pleasing to the Marvel folks while adding a few more jokes. Plus heart! Can't forget the heart. Also there's a cameo from a back-bench "Avengers" superhero setting up Ant-Man's future screen appearances.

Time will tell whether a movie such as "Ant-Man," in which conventional firearms are so rewardingly irrelevant, can find a big audience. But it's more fun than "Avengers 2."

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Rose McGowan : Against Sexism

Rose McGowan : Against Sexism

Late Wednesday, the actress and director wrote on Twitter that her agent fired her because she “spoke up” about Hollywood casting practices, adding the hashtag #BRINGIT.

Pushback against Hollywood sexism seems to have gotten Rose McGowan dropped from the talent agency Innovative Artists. 

Last week, the actress had tweeted the casting notes from a movie whose star, she wrote, has a name that “rhymes with Madam Panhandler.” 

“Form fitting tank that shows off cleavage (push up bras encouraged),” part of the note read, prompting Ms. McGowan to tweet, “Ha ha I die.” 

A few days later, Ms. McGowan told Entertainment Weekly that while she was not trying to vilify Adam Sandler in the tweet, it was “the stupidity more than anything” that set her off. “I was offended by the fact that went through so many people’s hands and nobody red flagged it,” Ms. McGowan said. “This is normal to so many people.” 

A publicist for Ms. McGowan did not return messages; but a woman who answered the phone at the Los Angeles-based Innovative Artists and did not give her name, said the agency had stopped representing Ms. McGowan as of Wednesday, but that she was not privy as to why. 

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Kevin Haskins Goes Hollywood

Kevin Haskins Goes Hollywood

“It was an obvious choice,” says the 6-foot-2, lanky and bespectacled Haskins, without a trace of irony about his anything-but-obvious shift. Not even his biggest fans know exactly what he does.

Monte Vallier, a well-known Bay Area music producer and creative director, did know, but in a burst of ebullience made the not-quite-right claim that Haskins was “the No. 1 producer of video-game music in the world!”

This came from a place of deep admiration, forget that it wasn’t exactly spot on. “I’m actually not a huge video-game music producer!” says Haskins, more amused than anything, about the five game titles he’s worked on, Myst III being one of the more noteworthy.

You might expect a guy like Kevin Haskins to be running a nice mortuary, or playing percussion in an Austro-Hungarian choral society, or cultivating alabaster orchids in a secluded greenhouse in the Alps, far from the trappings of this thing called life.

After all, this is the original drummer from Bauhaus, the Brit band deified by the 1970s and ’80s movement known for dyed black hair, dramatic eyeliner and a flair for gloom. You know, Goth culturists.

But fast-forward to Los Angeles. No, Haskins hasn’t died and gone to a sunny hell of celebrity graves and traffic jams. It’s weirder than that. Yeah, he’s still in music, but he’s made a monster move from stage center to a world that perhaps only he saw coming: composing.

And not for kiddie theater or rock documentaries. He’s become one of the most sought-after composers for movies and television, working with the industry legends who write their own paychecks. And at last count, Haskins is at 27 major credits and growing.

Now 54, Haskins, who lives in Los Angeles with his wife and daughters, started composing in earnest in 1998, a transition that was probably easier than it looked, since composing music for the mainstage is a markedly different animal from just being another flavor of a visual mix that has to succeed on-screen in multiple ways.

When he first began composing for film and hadn’t yet grasped the art of creating music to underscore a visual event, Haskins says, he made the mistake of imposing the same process that we use in writing songs within a band setup. “I had no idea what I was doing!” he says.

Which is where a stern tutelage reading books, and heeding the hollers of some of his favorite composers — Clint Mansell, Trent Reznor and Atticus Ross, Brian Reitzell, Clinton Shorter, Cliff Martinez, Nick Cave and Warren Ellis — helped him before he jumped into the deep end for his first big score, for a CBS crime-drama series, Robbery Homicide Division. 

 A deep end that typically includes spotting sessions with the director, music supervisor, music editor and at times producers, and involves all manner of chatter while watching what they’re scoring.

Even in the early days, he says, he always wanted to compose for visual media like film. “I have no idea why, but I knew that I would do it one day,” Haskins says. He points to the atmospheric elements he’d add to Bauhaus songs like “Hollow Hills”: the eerie wind sounds and the guitar harmonics in delay. “I was always experimenting with sounds and samples to augment the musical elements, underscoring in a way.”

Where the songs start and end, why the scene should have music and what the director wants are all considered before Haskins takes it away and comes back with what works. And what works has worked well enough that Haskins is not just in the mix. Most of the time, he no longer has to name-check Bauhaus to keep his place in it.

“Michael Mann [Heat, Miami Vice and Blackhat, among dozens more], who heard a CD of a student film I scored, hired me on the spot,” Haskins says, still sounding a little surprised. “Without any interview! I don’t think he was aware of my history.”

The filmmakers, though, seem to be aware, and a gander at his credits reflects a certain interest in his historical eye for darker climes. Ends that he reaches typically over five days if he is scoring an hour-long TV show, and about six to eight weeks if he’s doing a film. A lot different from the flash and bang of a live show — a comparison Haskins puts to bed quickly.

 “It’s fairly comparable to being in a band, though. Mostly in that budgets vary enormously, but because the composer is the last component, the producers, for small indie films at least, have run out of money. And unfortunately, some composers work for free just to land a job, in the hopes that it will lead to more work.

But there is good money to be made.” Good? According to David Bell in his book Getting the Best Score for Your Film, some might be earning at least $300,000 a score, if not more, with some reports pegging the figure at twice that. Haskins, however, seems much less interested in money than he probably should be.

“Money’s important,” says Austrian filmmaker Paul Poet, “and I am sure Haskins could use more of it and deserves it, but the problem with his kind of genius is you can hear that he clearly cares much more about great sounds than he does what he gets paid for those great sounds.”

An inclination that’s also presently returned Haskins to his roots, with the next six months seeing him putting together a coffee-table art book on Bauhaus, an instrumental LP with Patina Creme, remixing a solo piano piece for Sam Harris’ photography exhibition and composing a bunch of movie-trailer music.

 “After enjoying a wonderful 25 years on the road,” Haskins says, “I really wanted to spend more time at home with my family, and becoming a composer was an obvious choice.” Obvious, and obviously brilliant.

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