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Welcome back, Cassian Fandors! The Andor season one finale is here, and “Rix Road” is an absolute banger of a way to end the season. Dan dives in to break down everything you might have missed in this week’s Andor on today’s episode of Nerdist News!
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The post Andor Episode 12 Breakdown & Ending Explained (Nerdist News w/ Dan Casey) appeared first on Nerdist.
Adaptation is no ordinary task, and it’s rare for novelists to be chosen to adapt their work into TV and film, but award-winning author Gillian Flynn (Gone Girl) breaks the mold. The best-selling author has adapted two of her books into TV and film. BGN had the honor of speaking with Gillian Flynn via Zoom on a pleasant Friday about adaptation and the importance of collaboration.
What was the process of adapting Gone Girl into a feature film?
Gone Girl was a long and intricate book and was a piece of clockwork, so it was hard to figure out which pieces could go. I was writing it for Fox, and at the time, we didn’t have a director attached to it.
The one thing I knew about studios is normally if they hire the author, they take the first draft, and then they immediately fire the author and then hire someone who knows what they’re doing. Which I get. I also knew that you can’t go over 120 pages which is two hours of film. I think I came in right at 120 pages.
The book came out in May of 2012, and I started writing the screenplay around August 2012 while I was on the book tour. As I was talking about Gone Girl on the book tour, I was starting to not be able to see it for what it was. So what I did was listen to the audiobook, and I took notes as I went along, which was able to trigger different ways of listening to it and thinking about it because I wasn’t looking at those words anymore on the page.
I took note of lines that I really liked and certain plot points I thought were really important, then I flagged those in the book in case I wanted to look back at them. Then I made a rule to myself to never look at the book again. I didn’t want to start going page by page and talking myself into moments that didn’t really absolutely need to be in there while still keeping in mind the character development and figuring out how to internalize or externalize Amy’s diary which was one of the biggest and trickiest parts to figure out.
I turned it into Fox, and I felt great about it because it was 120 pages, so spot on. Then one of the first things after [David] Fincher agreed to come on and direct the project, he said, “Hey, let’s put a bunch of stuff back in.” I was like, I love you; you are my hero! He knew the book by heart.
Which project was more challenging to adapt, Gone Girl or Sharp Objects?
Gone Girl has probably been the hardest adaptation for me because the book is over 300 pages, and that’s a lot to try to fit into a movie. Thank God for David Fincher because that movie is almost two hours and forty minutes, but it flies. Thanks to Fincher, we had about six weeks of rehearsal. I was sitting in with actors as they read the script. Ben [Affleck] has this great sense of humor, so I was able to put a little more bounce, sarcasm, and humor into Nick’s character. Rosamund [Pike] is incredibly cerebral and brilliant, a classically trained cellist. I mean, she has so many pieces to her. So I thought, “Okay, this is going to work.” And I can add even more because she could shoulder it.
What was collaborating with Steve McQueen to write the film Widows like?
I just love that film. It felt like Chicago; it was a majority Black cast, everyone from Brian Tyree to Viola Davis, and I was just I was very proud of making a movie that felt like Chicago.
Steve McQueen was straight off of 12 Years a Slave, and I just thought he had such balls to be like, “I’m just gonna make a heist film that feels gritty and old school.” It was very cool to be able to collaborate with him. He co-wrote with me, and we were able to have these open conversations about gender and race. He’s such an easy person to collaborate with, and we had such lovely, incredibly open communication.
It wasn’t like he said, “I’m gonna write all the Black male characters. You write the white female characters.” We wrote people as they are, the way people felt to us, and, then, exchanged certain thoughts and tweaked each other’s stuff. I think the movie came out so much better for that. Widows is one of my projects that I feel is a little underknown. I just love it when people have discovered it now, flipping around on HBO or whatever or trying to find something to stream.
How did you become involved with that project?
He [McQueen] got in touch with me. We had a great dinner in New York. We were still filming Sharp Objects at the time I was writing it, so I was very surprised half the time I was down in Georgia law. But we had a lot of great phone conversations. He would write in my documents and I would wake up in the morning with it all there because he had been writing because of the time difference. And you know, we would read each other’s stuff, and so it felt like this great little kind of Ferris wheel of writing.
When writing stories with multiracial casts, do you think you’ll collaborate with more Black writers in the future?
I would love to with the right collaborators. It’s only helpful with the right collaborator. If you’re both on the same page, if you’re both open to each other’s helpful criticism and helpful advice and thoughtful messaging, it’s only gonna get better. When you’ve got a multiracial cast, which will hopefully happen more, it’s important to include multiracial writers because that’s the world, and it should feel that way. It shouldn’t be just white men writing.
I hope more Black women and white women will write together as well. There’s so much storytelling that hasn’t been told in that framework.
One of my favorite books this year was Jackal by Erin E. Adams — a Haitian immigrant writing about a missing Black girl as opposed to missing white girl syndrome. The main character’s best friend is a white woman, and they’re dealing with the racial issues of this town as they try to solve this mystery. I know that it’s been optioned, and I hope that in the writer’s room there’s collaboration.
What right now is bringing you the most joy?
I’m loving the luxury of being able to write without a studio deadline. I am working on a screenplay, but I’m just doing it for myself. I mean, ultimately, I’ll try to sell it, but I love not having that pressure. It feels really in the groove to be back to writing without pressure.
Come on, Barbie, let’s go party. Whether we want it to or not, that iconic Aqua song is pulsing through our veins as we anticipate the upcoming big-screen Barbie movie. She is no stranger to the screen, though. The iconic Mattel doll is, after all, the star of a whole animated cinematic universe. But now she’s getting the Hollywood treatment with a live-action film. Margot Robbie stars as the titular blonde girlboss, and she has a whole lot of star power with her—both in front of and behind the camera. Here’s everything we know about Barbie.
Title
Warner Bros. and Mattel are keeping it simple with this one, calling the film Barbie.
Barbie‘s Plot
So far, Warner Bros. and Mattel are keeping on the down low about Barbie‘s plot. But given the castings we know the ensemble film will include at least a few familiar figures from the Mattel world. In addition to the titular character, her on-again/off-again boyfriend Ken is a major figure. Plus, this is a film from Greta Gerwig (and Noah Baumbach). So it wouldn’t be too surprising if they throw in a couple surprises. Will we see a wistful or melancholy Barbie, trying to move on from her himbo love? Or will we follow Barbie on a coming of age journey as she figures out what her dream job really is? With Gerwig at the helm and this stacked cast, we’re game for just about anything.
Behind the Scenes
Greta Gerwig will write and direct the film, with real-life partner Noah Baumbach co-writing the script. Robbie and Tom Ackerley are also producing the film through their LuckyChap Entertainment production company. Mattel’s Robbie Brenner and David Heyman also produce.
Barbie‘s Cast
As stated above, Margot Robbie, who is also producing the film, is Barbie. Ryan Gosling is playing Ken. Joining them are Simu Liu, America Ferrera, Alexandra Shipp, Kingsley Ben-Adir, Rhea Perlman, Ncuti Gatwa, Emerald Fennell, Sharon Rooney, Scott Evans, Ana Cruz Kayne, Connor Swindells, Ritu Arya, Jamie Demetriou, Kate McKinnon, Ariana Greenblatt, Emma Mackey, Issa Rae, Michael Cera, and Hari Nef. It is quite a cast, to say the least!
In addition, we now know that Will Ferrell will play “the CEO of Mattel.” According to the actor, the role is “that guy who’s just insensitive but weird.”
Barbie’s Release Date
Barbie releases on July 21, 2023.
The post Everything We Know About the BARBIE Movie appeared first on Nerdist.
Andor creator and showrunner Tony Gilroy described his series’ first season as “the education” of Cassian. But the season one finale offered an important lesson to people in every galaxy. Maarva’s rousing funeral speech and Nemik’s moving manifesto both got at the heart of why—no matter how impossible the task might seem—it is never too late to fight tyranny. Because the time to stand up to fascism, in any way you can, is always right now.
There will be times when the struggle seems impossible. I know this already. Alone, unsure, dwarfed by the scale of the enemy. Remember this: freedom is a pure idea. It occurs spontaneously and without instruction. Random acts of insurrection are occurring constantly throughout the galaxy. There are whole armies, battalions that have no idea that they’ve already enlisted in the cause.
Karis Nemik
One day Cassian Andor will help bring down the Empire. The people he’ll free won’t remember him as one of the galaxy far, far away’s greatest heroes, though. Those accolades will go to famous figures like Luke Skywalker, Leia Organa, and Mon Mothma, as names like Jyn Erso and Ruescott Melshi fade away in the scorched sands of Scarif.
But Andor’s incredible season one finale highlighted—maybe better than any story in Star Wars history—what it truly takes to defeat an evil Empire. Or, more specifically, it highlighted “who” it takes. Successful rebellions require more than legendary Jedi and pilots. It takes regular people everywhere finding the will and courage to “wake up,” because fascism will never go away on its own anymore than a single individual will ever defeat it. And both of those things are true no matter how much you wish they weren’t.
As Maarva said, you can only ignore and hide from tyranny for so long. Eventually the “disease” of oppression will come for you and your people specifically because you have chosen to remain in darkness. Fascism “thrives in darkness.” It desperately needs people to close their eyes to the suffering of others.
Remember that the frontier of the Rebellion is everywhere. And even the smallest act of insurrection pushes our lines forward. And then remember this: The Imperial need for control is so desperate because it is so unnatural. Tyranny requires constant effort. It breaks, it leaks. Authority is brittle. Oppression is the mask of fear. Remember that.
Maarva Andor
While Maarva entertained the possibility that Ferrix might have waited too long to oppose the Empire, Nemik knew there’s no such thing as too late when it comes to fighting fascists. His manifesto, so full of hope yet so clear-eyed and unsentimental, understood that oppression is inherently wrong and freedom is inherently right. Unlike tyranny, which requires “constant effort,” people yearn to be free. Freedom does not need stormtroopers and Death Stars to maintain its existence. It exists in the hearts of people everywhere, and manifests in unexpected ways without thought or planning. That’s why tyranny is so fragile and temporary while its opposite can never be defeated. It can only fall asleep.
That doesn’t mean fighting fascism is easy. Nemik recognized just how hard it can be, especially to an individual who can’t imagine a path to a victory that seems so unreachable. Standing up for yourself and others can—and will—sometimes feel all but fruitless. And the bigger the enemy, and the bigger the challenge, the easier it is to lose hope. But Nemik fundamentally understood something we all should about why we must fight back. It’s an idea that is at the heart of Andor, the Rebellion, Star Wars, and our own battle with fascism.
Standing up for what’s right iis not about a single blow or a single hero. It’s about doing what we can when we can, so that one day all those little acts lost to time make it possible for freedom to wash over the galaxy.
And know this, the day will come when all these skirmishes and battles, these moments of defiance will have flooded the banks of the Empire’s authority, and then there will be one too many. One single thing will break the siege. Remember this: try.
Karis Nemik
In her final speech, Maarva said she “always wanted to be lifted” because she was “always waiting to be inspired.” That was the exact gift she left Ferrix, as she helped her community open its eyes to the evil that threatens them all. It’s also the gift Andor gave to viewers in its stunning season one finale. Every generation learns how fascism will spread if we let it. But the show reminded us of an even more important lesson: even when it seems fascists have won and darkness has taken over, we must remember that it’s never too late to wake up. No act in the name of freedom is ever insignificant or hopeless.
That even includes moving words of inspiration—shared with one person, an entire community, or a television audience—that can start a ripple that ends with the crashing of an Empire. Because tyranny will never be strong enough to oppose even the smallest acts of rebellion. You just need to wake up and try.
Mikey Walsh is a staff writer at Nerdist. You can follow him on Twitter at @burgermike. And also anywhere someone is ranking the Targaryen kings.
The post Maarva and Nemik Delivered ANDOR’s Greatest Lesson on Fighting Fascists appeared first on Nerdist.