The second season of Apple's post-apocalyptic drama Silo ended with a major revelation that will change the course of the story moving forward. No, it wasn't the reveal that the world outside the siloes was indeed unlivable, nor the reveal that one silo keeps watch over the others. It was the flashback sequence that showed us what things were like before the end of the world. We were introduced to a congressman and journalist meeting in Washington D.C, already planting the seeds of how the silos came to be.
Tim Robbins in Silo season 2. Image: Apple TV+.
Based on the popular book series by Hugh Howey, the first two seasons of Silo mainly followed a character named Juliette, who lives in an underground silo with many other people; they've been down there for generations and have forgotten how they've come to be there, but know that they can't leave for the surface.
Tim Robbins in Silo season 2. Image: Apple TV+.
Based on the popular book series by Hugh Howey, the first two seasons of Silo mainly followed a character named Juliette, who lives in an underground silo with many other people; they've been down there for generations and have forgotten how they've come to be there, but know that they can't leave for the surface.
- 7/1/2025
- by Jennifer Renson
- Winter Is Coming
SiloSeasons 3 and 4 are being filmed back to back, and production is on track to the anticipated release dates. A head creative also teased that Season 3 would be easier on the eyes, hinting at significant changes to the show's bleak aesthetic.
Silo Season 3 has finished filming, and production for Season 4 is ramping up. Speaking to ScreenRant, Season 2 cinematographer Baz Irvine also teased that the last two seasons will look different. "I think Silo is a great example of a show where it probably does actually benefit [to have] a new set of eyes and a new Dop come in, just to mark the difference and variation you need from season to season to make a show progress," he explained. Irvine was Season 2's lead director of photography, but exited the project due to health concerns.
"It was such an incredibly long stint, Season 2… so I came in 12 weeks early to do prep," he continued.
Silo Season 3 has finished filming, and production for Season 4 is ramping up. Speaking to ScreenRant, Season 2 cinematographer Baz Irvine also teased that the last two seasons will look different. "I think Silo is a great example of a show where it probably does actually benefit [to have] a new set of eyes and a new Dop come in, just to mark the difference and variation you need from season to season to make a show progress," he explained. Irvine was Season 2's lead director of photography, but exited the project due to health concerns.
"It was such an incredibly long stint, Season 2… so I came in 12 weeks early to do prep," he continued.
- 6/30/2025
- by Manuel Demegillo
- CBR
Fans of Apple TV+’s hit sci-fi drama Silo have plenty to look forward to, with Season 3 having recently wrapped principal photography. While the streamer has yet to announce an official release date, a new update has surfaced that’s sure to excite viewers still reeling from that explosive Season 2 finale. For a series steeped in mystery and slow-burning revelations, delivering answers in a timely fashion is crucial to sustaining audience engagement, and it seems the creators are keenly aware of that. In a promising new development, the show’s cinematographer, Baz Irvine, has shared a production update that hints at when the much-anticipated final season might arrive.
Silo Season 2 premiered last fall, with its finale arriving earlier this year, teeing up the next chapter with even more jaw-dropping twists. The show successfully sidestepped the dreaded sophomore slump, gaining enough momentum to earn not one, but two back-to-back season renewals.
Silo Season 2 premiered last fall, with its finale arriving earlier this year, teeing up the next chapter with even more jaw-dropping twists. The show successfully sidestepped the dreaded sophomore slump, gaining enough momentum to earn not one, but two back-to-back season renewals.
- 6/30/2025
- by Makuochi Echebiri
- Collider.com
Rebecca Ferguson's movie star experience contributed to the process of filming Apple TV+'s Siloin a fascinating way. The 41-year-old actress has appeared in supporting roles in some of the biggest movies of the past decade, including the massively successful Dune: Part Two. This has made it all the more exciting to see her as the lead in a series like Silo, allowing her to demonstrate her talents in the spotlight of a long-form series. With season 2 ending in January, Silo season 3 is already well underway, hoping to build on the critically acclaimed saga.
During an interview with Screen Rant's Owen Danoff, Silo season 2 cinematographer Baz Irvine shared how Rebecca Ferguson's experience filming the Mission: Impossible franchise contributed to the daunting episode 7 underwater sequence. Irvine explains, "You remember there was an incredible sequence in one of the Mission: Impossible films where she held her breath underwater, so she’s a veteran.
During an interview with Screen Rant's Owen Danoff, Silo season 2 cinematographer Baz Irvine shared how Rebecca Ferguson's experience filming the Mission: Impossible franchise contributed to the daunting episode 7 underwater sequence. Irvine explains, "You remember there was an incredible sequence in one of the Mission: Impossible films where she held her breath underwater, so she’s a veteran.
- 6/30/2025
- by Charles Papadopoulos
- ScreenRant
Silo season 3 hasn't been released yet on Apple TV+, but there's already an update on the show's upcoming fourth season. A month after Silo season 2 premiered on the streamer, Apple announced that the hit sci-fi show was renewed for seasons 3 and 4. However, Silo season 4 will be the show's last, concluding the dystopian tale based on Hugh Howey's novels. This may be surprising to some, considering how well-received the show has been, especially when looking at Rebecca Ferguson's leading performance among Silo's cast.
Silo season 2's ending bust the door wide open for the future of the Apple TV+ series, with a flashback teasing what disastrous event caused communities to live underground in silo shelters. The finale aired in January 2025, but by then, Silo season 3 was already filming before wrapping up in May 2025. It also looks like the cast and crew aren't wasting any time with the show's final season.
Silo season 2's ending bust the door wide open for the future of the Apple TV+ series, with a flashback teasing what disastrous event caused communities to live underground in silo shelters. The finale aired in January 2025, but by then, Silo season 3 was already filming before wrapping up in May 2025. It also looks like the cast and crew aren't wasting any time with the show's final season.
- 6/27/2025
- by Kara Hedash
- ScreenRant
Edward Lachman, Jomo Fray, and Sam McCurdy take home top honors at the 39th annual ASC Awards, while ‘Maria’ and ‘Nickel Boys’ stand out among the winners.
Edward Lachman won his first ASC Award for Maria, beating out Greg Frasier for Dune: Part Two and Lol Crawley for The Brutalist at the 39th annual ASC Awards, held on February 23 at The Beverly Hilton. Lachman’s surprise win comes after five previous nominations, marking a long-awaited achievement in his career.
Maria, Lachman’s collaboration with director Pablo Larraín, focuses on the final days of opera singer Maria Callas, reflecting on her life and the challenges of maintaining her voice. To capture this story, Lachman utilized Kodak film in 35mm, 16mm, and Super 8, shooting in both color and black-and-white stock. This film is part of Larraín’s Important Women Trilogy, alongside Jackie and Spencer.
Other notable winners included Robert Elswit for Ripley in the Limited Series category,...
Edward Lachman won his first ASC Award for Maria, beating out Greg Frasier for Dune: Part Two and Lol Crawley for The Brutalist at the 39th annual ASC Awards, held on February 23 at The Beverly Hilton. Lachman’s surprise win comes after five previous nominations, marking a long-awaited achievement in his career.
Maria, Lachman’s collaboration with director Pablo Larraín, focuses on the final days of opera singer Maria Callas, reflecting on her life and the challenges of maintaining her voice. To capture this story, Lachman utilized Kodak film in 35mm, 16mm, and Super 8, shooting in both color and black-and-white stock. This film is part of Larraín’s Important Women Trilogy, alongside Jackie and Spencer.
Other notable winners included Robert Elswit for Ripley in the Limited Series category,...
- 2/24/2025
- by Naser Nahandian
- Gazettely
“Maria” cinematographer Edward Lachman won the Feature Film prize at the 39th annual ASC Awards, February 23 at The Beverly Hilton. His surprise win beat out Academy Award favorites “Dune: Part Two” (Greig Fraser) and “The Brutalist” (Lol Crawley), as well as “Nosferatu” (Jarin Blaschke), “Conclave” (Stéphane Fontaine), “A Complete Unknown” (Phedon Papamichael), and “Wicked” (Alice Brooks). The expanded list was due to how close the percentage of voting was.
This marks Lachman’s first win after five nominations at the ASC Awards. He was previously nominated for his work with Todd Haynes on “Mildred Pierce,” “Far From Heaven,” and “Carol,” as well as his previous effort with Pablo Larraín, “El Conde.” His second project with the Chilean filmmaker, “Maria,” follows the last days of opera singer Maria Callas as she reflects on her life and the struggle of maintaining her own voice. It serves as a culmination of Larraín’s “Important Women” Trilogy,...
This marks Lachman’s first win after five nominations at the ASC Awards. He was previously nominated for his work with Todd Haynes on “Mildred Pierce,” “Far From Heaven,” and “Carol,” as well as his previous effort with Pablo Larraín, “El Conde.” His second project with the Chilean filmmaker, “Maria,” follows the last days of opera singer Maria Callas as she reflects on her life and the struggle of maintaining her own voice. It serves as a culmination of Larraín’s “Important Women” Trilogy,...
- 2/24/2025
- by Bill Desowitz
- Indiewire
Edward Lachman has taken top honors at the 39th annual American Society of Cinematographers Awards for his work on “Maria.”
In a competitive year, the ASC nominated seven cinematographers in the feature film category. The last time the field expanded beyond five was in 2014. The other nominees are Lol Crawley for “The Brutalist,” Phedon Papamichael for “A Complete Unknown,” Stéphane Fontaine for “Conclave,” Greig Fraser for “Dune: Part 2,” Jarin Blaschke for “Nosferatu,” and Alice Brooks for “Wicked.”
In its 38-year history, only 18 have gone on to win the Oscar. Last year, Hoyte Van Hoytema won the ASC for “Oppenheimer” and went on to win the Oscar.
In TV, winners included Robert Elswit for “Ripley.” Elswit won the Creative Art Emmy last year. Speaking with Variety for Inside the Frame, Elswit spoke about shooting the black and white limited series. He said, “Lighting was important. It needed to reflect who...
In a competitive year, the ASC nominated seven cinematographers in the feature film category. The last time the field expanded beyond five was in 2014. The other nominees are Lol Crawley for “The Brutalist,” Phedon Papamichael for “A Complete Unknown,” Stéphane Fontaine for “Conclave,” Greig Fraser for “Dune: Part 2,” Jarin Blaschke for “Nosferatu,” and Alice Brooks for “Wicked.”
In its 38-year history, only 18 have gone on to win the Oscar. Last year, Hoyte Van Hoytema won the ASC for “Oppenheimer” and went on to win the Oscar.
In TV, winners included Robert Elswit for “Ripley.” Elswit won the Creative Art Emmy last year. Speaking with Variety for Inside the Frame, Elswit spoke about shooting the black and white limited series. He said, “Lighting was important. It needed to reflect who...
- 2/24/2025
- by Jazz Tangcay
- Variety Film + TV
The American Society of Cinematographers Awards were handed out Sunday night, with the film prize going to Edward Lachman for Maria.
This is Lachman’s first ASC win. He was previously nominated for Far From Heaven (2003), Mildred Pierce (2011), Carol (2016) and El Conde (2024). He received the ASC’s Lifetime Achievement Award in 2017.
On the TV side, Richard Rutkowski won for Sugar in the episode of a half-hour series category, and Sam Mccurdy won for Shogun in the one-hour regular series category, while the limited or anthology series of motion picture made for television award went to Robert Elswit for Ripley.
The Spotlight Award was awarded to Jomo Fray, cinematographer of Nickel Boys.
The 2025 ASC Career Achievement in Television Award was awarded to Michael Goi, whose credits have included Web Therapy, Glee, American Horror Story and Scream Queens. Pete Romano was honored with the 2025 Curtis Clark ASC Technical Achievement Award for revolutionizing underwater cinematography.
This is Lachman’s first ASC win. He was previously nominated for Far From Heaven (2003), Mildred Pierce (2011), Carol (2016) and El Conde (2024). He received the ASC’s Lifetime Achievement Award in 2017.
On the TV side, Richard Rutkowski won for Sugar in the episode of a half-hour series category, and Sam Mccurdy won for Shogun in the one-hour regular series category, while the limited or anthology series of motion picture made for television award went to Robert Elswit for Ripley.
The Spotlight Award was awarded to Jomo Fray, cinematographer of Nickel Boys.
The 2025 ASC Career Achievement in Television Award was awarded to Michael Goi, whose credits have included Web Therapy, Glee, American Horror Story and Scream Queens. Pete Romano was honored with the 2025 Curtis Clark ASC Technical Achievement Award for revolutionizing underwater cinematography.
- 2/24/2025
- by Beatrice Verhoeven
- The Hollywood Reporter - Movie News
The photographic excellence of The Brutalist, A Complete Unknown, Conclave, Maria, Dune: Part Two, Nosferatu, and Wicked were cited in the marquee Theatrical Feature Film category as the American Society of Cinematographers announced nominees Thursday morning for the 39th Annual ASC Awards. The ASC Awards span features, documentaries, television, and music videos among its seven categories, with these nominations delayed a week due to the Los Angeles wildfire crisis.
This feature lineup is packed with awards season favorites, including cinematographers Lol Crawley for The Brutalist, Greig Fraser for Dune: Part Two, and Jarin Blaschke for Nosferatu. Last year’s ASC feature winner, Hoyte van Hoytema for Oppenheimer, went on to win the Academy Award. The ASC winner has claimed that year’s Oscar 18 times in 38 years, or a smidgen less than half the time.
The number of nominees in the feature category — seven this time — can vary between five and...
This feature lineup is packed with awards season favorites, including cinematographers Lol Crawley for The Brutalist, Greig Fraser for Dune: Part Two, and Jarin Blaschke for Nosferatu. Last year’s ASC feature winner, Hoyte van Hoytema for Oppenheimer, went on to win the Academy Award. The ASC winner has claimed that year’s Oscar 18 times in 38 years, or a smidgen less than half the time.
The number of nominees in the feature category — seven this time — can vary between five and...
- 1/16/2025
- by Ray Richmond
- Gold Derby
The American Society of Cinematographers today focused in on the delayed nominations for its 39th annual ASC Awards, which celebrate the year’s best in cinematography in seven categories spanning feature films, TV, documentaries and music videos. See the list below.
Vying for the marquee Theatrical Feature Film prize are the DPs behind Nosferatu, Wicked, The Brutalist, Conclave, Dune: Part Two, Maria and A Complete Unknown. The number of nominees in the category can vary from five to 10, depending on vote percentage. The last time there were seven was in 2014.
Winners will be feted February 23 during 39th annual ASC Awards at the Beverly Hilton. The ceremony will be livestreamed at theasc.com.
Related: 2025 Awards Season Calendar: Dates For Oscars, Spirits, Grammys, Tonys, Guilds & More
Producer and Lucasfilm President Kathleen Kennedy is set for the ASC’s 2025 Board of Governors Award, and longtime Sidney Lumet collaborator Andrzej Bartkowiak will receive the Lifetime Achievement Award.
Vying for the marquee Theatrical Feature Film prize are the DPs behind Nosferatu, Wicked, The Brutalist, Conclave, Dune: Part Two, Maria and A Complete Unknown. The number of nominees in the category can vary from five to 10, depending on vote percentage. The last time there were seven was in 2014.
Winners will be feted February 23 during 39th annual ASC Awards at the Beverly Hilton. The ceremony will be livestreamed at theasc.com.
Related: 2025 Awards Season Calendar: Dates For Oscars, Spirits, Grammys, Tonys, Guilds & More
Producer and Lucasfilm President Kathleen Kennedy is set for the ASC’s 2025 Board of Governors Award, and longtime Sidney Lumet collaborator Andrzej Bartkowiak will receive the Lifetime Achievement Award.
- 1/16/2025
- by Erik Pedersen
- Deadline Film + TV
The cinematographers of “The Brutalist,” “A Complete Unknown,” “Conclave,” “Dune: Part Two,” “Maria,” “Nosferatu” and “Wicked” have been nominated for the top feature-film award by the American Society of Cinematographers, which announced its nominations on Thursday after a week-long delay because of the Los Angeles wildfires.
The nominated cinematographers were Jarin Blaschke for “Nosferatu,” Alice Brooks for “Wicked,” Lol Crawley for “The Brutalist,” Stéphane Fontaine for “Conclave,” Greig Fraser for “Dune: Part Two,” Edward Lachman for “Maria” and Phedon Papamichael for “A Complete Unknown.”
The nominations were the fourth for Fraser, Lachman and Papamichael. Brooks became only the fourth woman ever nominated in the feature-film category by the ASC, following Rachel Morrison for “Mudbound,” Ari Wegner for “The Power of the Dog” and Mandy Walker for “Elvis.” Walker is the only woman to win.
The category was expanded to seven nominees rather than the usual five, but it still did...
The nominated cinematographers were Jarin Blaschke for “Nosferatu,” Alice Brooks for “Wicked,” Lol Crawley for “The Brutalist,” Stéphane Fontaine for “Conclave,” Greig Fraser for “Dune: Part Two,” Edward Lachman for “Maria” and Phedon Papamichael for “A Complete Unknown.”
The nominations were the fourth for Fraser, Lachman and Papamichael. Brooks became only the fourth woman ever nominated in the feature-film category by the ASC, following Rachel Morrison for “Mudbound,” Ari Wegner for “The Power of the Dog” and Mandy Walker for “Elvis.” Walker is the only woman to win.
The category was expanded to seven nominees rather than the usual five, but it still did...
- 1/16/2025
- by Steve Pond
- The Wrap
After a delay due to the ongoing wildfires in Los Angeles, the American Society of Cinematographers (ASC) announced the nominees for its 2025 Outstanding Achievement Awards, spanning feature films, documentaries, television, and music videos. “Dune: Part 2” continues to be a craft favorite with a nomination for Greig Fraser, but winter films made their mark, with nominations for “Nosferatu” and “A Complete Unknown,” among others. The ASC’s spotlight award, which highlights outstanding features with a more limited release or festival run, also nominated Jomo Fray’s work on “Nickel Boys,” keeping it in the conversation.
On the television side, both “House of the Dragon” and “Shōgun” earned multiple nominations for sweeping and sometimes fantastical work in the One-Hour Regular Series category; “Hacks” and “The Franchise” earned nominations for the sharp, funny backstage view of the entertainment industry that Adam Bricker’s and Carl Herse’s cameras each take. The ASC...
On the television side, both “House of the Dragon” and “Shōgun” earned multiple nominations for sweeping and sometimes fantastical work in the One-Hour Regular Series category; “Hacks” and “The Franchise” earned nominations for the sharp, funny backstage view of the entertainment industry that Adam Bricker’s and Carl Herse’s cameras each take. The ASC...
- 1/16/2025
- by Sarah Shachat
- Indiewire
We're deep into the second season of Silo on Apple TV+, and the hit sci-fi show continues to deliver. This week's episode, "The Book of Quinn," sees Juliette Nichols (Rebecca Ferguson) contend with a mysterious new group of survivors in Silo 17 after they seemingly killed her friend Solo (Steve Zahn). Things got intense fast, as Juliette barely made it a handful of steps chasing their trail before she succumbed to "the bends," — a danger of Scuba diving where coming up from the pressurized depths too fast can cause bubbles to form in a person's joints, leading to intense pain and even paralysis. Juliette had to limp back down into the water and submerge herself deep enough, for long enough, for the pain to subside.
Silo has been filled with highlights this season, but Ferguson's underwater scenes are among the most breathtaking. In the previous episode, "The Dive," her character...
Silo has been filled with highlights this season, but Ferguson's underwater scenes are among the most breathtaking. In the previous episode, "The Dive," her character...
- 1/3/2025
- by Daniel Roman
- Winter Is Coming
Warning: this article contains spoilers for Silo season 2, episode 7.
Apple TV+'s gripping science fiction show Silo is mid-way through airing its second season, and season 2, episode 7, "The Dive", includes some thrilling diving sequences for Rebecca Ferguson's character Juliette. Silo season 2 has been met with positive reviews from critics and audiences alike, even though it feels very different from the first season. Still, its post-apocalyptic setting is gripping and the mysteries surrounding the truth of the Silo 18's rebellions and history has kept audiences waiting each episode for new evidence.
Silo season 2 has kept its focus on Juliette's activities in Silo 17 along with the ramifications of her exit and the ongoing power struggle between different groups in Silo 18. After deciding that she needs to return to her former home in Silo 18, Juliette is tasked with fixing the water pump in 17, leading to Silo season 2 episode 7's cliffhanger ending when she resurfaces.
Apple TV+'s gripping science fiction show Silo is mid-way through airing its second season, and season 2, episode 7, "The Dive", includes some thrilling diving sequences for Rebecca Ferguson's character Juliette. Silo season 2 has been met with positive reviews from critics and audiences alike, even though it feels very different from the first season. Still, its post-apocalyptic setting is gripping and the mysteries surrounding the truth of the Silo 18's rebellions and history has kept audiences waiting each episode for new evidence.
Silo season 2 has kept its focus on Juliette's activities in Silo 17 along with the ramifications of her exit and the ongoing power struggle between different groups in Silo 18. After deciding that she needs to return to her former home in Silo 18, Juliette is tasked with fixing the water pump in 17, leading to Silo season 2 episode 7's cliffhanger ending when she resurfaces.
- 12/30/2024
- by Emily Long
- ScreenRant
Armed only with a harmonium, Juliette swam through a world lost underwater in the fourth episode of “Silo” Season 2 — and that meant star Rebecca Ferguson spent a lot of time in the water tanks filming that particular episode.
“I dive a lot, when I can,” Ferguson says in a behind-the-scenes video from the day of the shoot. But that doesn’t mean that the day will be made easier. In fact, in many ways it was made even more difficult because Ferguson is playing someone who doesn’t know how to swim; after a lifetime in a bunker, Juliette has never spent this much time underwater.
“We built a set about 15 feet underwater, and we’re having some fun today,” episode director Michael Dinner said. “We built this tank from scratch. It’s like the second biggest water tank in the U.K., and we’ve just made it for this production,...
“I dive a lot, when I can,” Ferguson says in a behind-the-scenes video from the day of the shoot. But that doesn’t mean that the day will be made easier. In fact, in many ways it was made even more difficult because Ferguson is playing someone who doesn’t know how to swim; after a lifetime in a bunker, Juliette has never spent this much time underwater.
“We built a set about 15 feet underwater, and we’re having some fun today,” episode director Michael Dinner said. “We built this tank from scratch. It’s like the second biggest water tank in the U.K., and we’ve just made it for this production,...
- 12/9/2024
- by Mark Peikert
- Indiewire
Exclusive: In recent weeks, intrigue has been building in the UK industry about the local remake of French hit Call My Agent! (Dix Pour Cent in France), but cast and plot details have been a tightly guarded secret.
Today, four days before the series gets underway in central London, we can reveal key intel about the Bron Studios and Headline Pictures adaptation, which heralds from BAFTA-winner John Morton (W1A).
Starring will be Tony-nominated actress Lydia Leonard (Absentia) as Rebecca, in a role loosely based on Camille Cottin’s character Andréa Martel; Jack Davenport (Pirates Of The Caribbean) will play Jonathan, in a role loosely based on character Mathias Barneville; Maggie Steed (Chewing Gum) will be Stella; Prasanna Puwanarajah (Patrick Melrose) plays Dan; and newcomers Harry Trevaldwyn (The King) will be Ollie and Hiftu Quasem (Killing Eve) will play Misha.
Also starring will be Fola Evans-Akingbola (Siren), Rebecca Humphries (Trigonometry...
Today, four days before the series gets underway in central London, we can reveal key intel about the Bron Studios and Headline Pictures adaptation, which heralds from BAFTA-winner John Morton (W1A).
Starring will be Tony-nominated actress Lydia Leonard (Absentia) as Rebecca, in a role loosely based on Camille Cottin’s character Andréa Martel; Jack Davenport (Pirates Of The Caribbean) will play Jonathan, in a role loosely based on character Mathias Barneville; Maggie Steed (Chewing Gum) will be Stella; Prasanna Puwanarajah (Patrick Melrose) plays Dan; and newcomers Harry Trevaldwyn (The King) will be Ollie and Hiftu Quasem (Killing Eve) will play Misha.
Also starring will be Fola Evans-Akingbola (Siren), Rebecca Humphries (Trigonometry...
- 5/6/2021
- by Andreas Wiseman and Nellie Andreeva
- Deadline Film + TV
The Harry Hill Movie has been given a UK and Ireland release date of December 20, 2013.
The film stars Hill alongside Julie Walters, Simon Bird, Matt Lucas, Sheridan Smith, Marc Wootton, Julian Barratt and Jim Broadbent.
> Harry Hill, Julie Walters film 'The Harry Hill Movie' - on-set pictures
"I can't wait for everyone to see my movie in December," Hill said.
"It's full of all the traditional festive family fun - evil twins, brains with legs, giant hamsters and chickens with guns."
The film centres around Hill and his Nan (Walters) who go off on a road trip to Blackpool when they discover that their hamster is seriously ill.
The Harry Hill Movie is directed by Steve Bendelack from a script by Hill, Jon Foster and James Lamont.
Director of photography is Baz Irvine and the film is produced by Robert Jones and Lucky Features and distributed by Entertainment Film Distributors.
The film stars Hill alongside Julie Walters, Simon Bird, Matt Lucas, Sheridan Smith, Marc Wootton, Julian Barratt and Jim Broadbent.
> Harry Hill, Julie Walters film 'The Harry Hill Movie' - on-set pictures
"I can't wait for everyone to see my movie in December," Hill said.
"It's full of all the traditional festive family fun - evil twins, brains with legs, giant hamsters and chickens with guns."
The film centres around Hill and his Nan (Walters) who go off on a road trip to Blackpool when they discover that their hamster is seriously ill.
The Harry Hill Movie is directed by Steve Bendelack from a script by Hill, Jon Foster and James Lamont.
Director of photography is Baz Irvine and the film is produced by Robert Jones and Lucky Features and distributed by Entertainment Film Distributors.
- 10/16/2013
- Digital Spy
The Harry Hill Movie has been given a UK and Ireland release date of December 20, 2013.
The film stars Hill alongside Julie Walters, Simon Bird, Matt Lucas, Sheridan Smith, Marc Wootton, Julian Barratt and Jim Broadbent.
> Harry Hill, Julie Walters film 'The Harry Hill Movie' - on-set pictures
"I can't wait for everyone to see my movie in December," Hill said.
"It's full of all the traditional festive family fun - evil twins, brains with legs, giant hamsters and chickens with guns."
The film centres around Hill and his Nan (Walters) who go off on a road trip to Blackpool when they discover that their hamster is seriously ill.
The Harry Hill Movie is directed by Steve Bendelack from a script by Hill, Jon Foster and James Lamont.
Director of photography is Baz Irvine and the film is produced by Robert Jones and Lucky Features and distributed by Entertainment Film Distributors.
The film stars Hill alongside Julie Walters, Simon Bird, Matt Lucas, Sheridan Smith, Marc Wootton, Julian Barratt and Jim Broadbent.
> Harry Hill, Julie Walters film 'The Harry Hill Movie' - on-set pictures
"I can't wait for everyone to see my movie in December," Hill said.
"It's full of all the traditional festive family fun - evil twins, brains with legs, giant hamsters and chickens with guns."
The film centres around Hill and his Nan (Walters) who go off on a road trip to Blackpool when they discover that their hamster is seriously ill.
The Harry Hill Movie is directed by Steve Bendelack from a script by Hill, Jon Foster and James Lamont.
Director of photography is Baz Irvine and the film is produced by Robert Jones and Lucky Features and distributed by Entertainment Film Distributors.
- 10/16/2013
- Digital Spy
Mr. Bean's Holiday
This review was written for the theatrical release of "Mr. Bean's Holiday."LONDON -- Calling his new film "Mr. Bean's Holiday" sets the bar awfully high for the latest adventures of Rowan Atkinson's bumbling comic creation. It inevitably invites comparison with Jacques Tati's priceless 1953 farce "Mr. Hulot's Holiday." Unlike the French classic, however, the new picture has plenty of chuckles but few outright laughs as Bean wins a raffle ticket for a vacation in the south of France but loses his way and causes minor havoc roaming the countryside.
Atkinson remains an expert clown, and there are sufficient numbers of gags to ensure that Bean fans worldwide will be kept fairly happy. It's difficult to see the film doing blockbuster business, but it inevitably will have a long DVD shelf life.
The screenplay by British TV writer Hamish McColl and Bean regular Robin Driscoll wastes little time in getting the fussy hero with his ever-present digital movie camera onto the Eurostar headed for Paris. Unable to speak the language and not willing to learn, he is equally incapable of even the basic tourist sign language. He can't order food in a restaurant, find the right train or make a phone call.
As a result, there's little by way of satire, and the jokes depend on Bean's stupidity. This involves such things as ingesting langoustine whole and pitching fresh oysters into his napkin that he then tips into a woman's handbag.
At the Gare de Lyon, Bean's determination to record his trip on video involves a genial fellow, Emil (Karel Roden), who happens to be a Russian film director on his way to the Festival de Cannes. Accidentally leaving Emil stuck on the platform, Bean hooks up with the director's resourceful son Stepan (Max Baldry) as the train heads south.
Bean contrives to miss the train himself at another stop but somehow finds Stepan again, little knowing that the boy's father has reported him kidnapped. It doesn't help matters that Bean has lost his wallet, tickets and passport.
Along the way, Bean encounters a group of filmmakers including egomaniac Carson Clay (Willem Dafoe) and a friendly young actress, Sabine (Emma de Caunes). Soon they all find themselves heading for Cannes and a climax at the premiere of Clay's pretentious new film to which Bean makes an unexpected contribution.
Atkinson is given several set pieces in which director Steve Bendelack, a British TV veteran, pretty much lets him get on with it. These include the lengthy restaurant sequence that is squishy enough to please youngsters; an empty-road scene that draws from "North by Northwest" and "Lawrence of Arabia" without turning into anything especially amusing; and a clever bit in which Bean manages to stride straight out from the top of the Palais des Festivals in Cannes to the beach without missing a step.
Cinematographer Baz Irvine and production designer Michael Carlin make sure the film has plenty of color and movement, helped by Howard Goodall's jaunty score.
Baldry and de Caunes are appealing as Bean's foils, though Dafoe appears to think he's in a pantomime and hams up a storm. Atkinson reportedly says this is Bean's last outing. While the film is amusing, it is disappointing that Atkinson appears content to play it safe. It would have been fun to see him aim higher.
MR. BEAN'S HOLIDAY
Universal Pictures
StudioCanal presents a Working Title production in association with Tiger Aspect Pictures
Credits:
Director: Steve Bendelack
Screenwriters: Hamish McColl & Robin Driscoll
Story: Simon McBurney
Producers: Peter Bennett-Jones, Tim Bevan, Eric Fellner
Executive producers: Simon McBurney & Richard Curtis
Director of photography: Baz Irvine
Production designer: Michael Carlin
Editor: Tony Cranstoun
Costume designer: Pierre-Yves Gayraud
Composer: Howard Goodall
Cast:
Bean: Rowan Atkinson
Stepan: Max Baldry
Sabine: Emma de Caunes
Carson Clay: Willem Dafoe
Emil: Karel Roden
Maitre d': Jean Rochefort
Running time -- 88 minutes
MPAA rating: PG...
Atkinson remains an expert clown, and there are sufficient numbers of gags to ensure that Bean fans worldwide will be kept fairly happy. It's difficult to see the film doing blockbuster business, but it inevitably will have a long DVD shelf life.
The screenplay by British TV writer Hamish McColl and Bean regular Robin Driscoll wastes little time in getting the fussy hero with his ever-present digital movie camera onto the Eurostar headed for Paris. Unable to speak the language and not willing to learn, he is equally incapable of even the basic tourist sign language. He can't order food in a restaurant, find the right train or make a phone call.
As a result, there's little by way of satire, and the jokes depend on Bean's stupidity. This involves such things as ingesting langoustine whole and pitching fresh oysters into his napkin that he then tips into a woman's handbag.
At the Gare de Lyon, Bean's determination to record his trip on video involves a genial fellow, Emil (Karel Roden), who happens to be a Russian film director on his way to the Festival de Cannes. Accidentally leaving Emil stuck on the platform, Bean hooks up with the director's resourceful son Stepan (Max Baldry) as the train heads south.
Bean contrives to miss the train himself at another stop but somehow finds Stepan again, little knowing that the boy's father has reported him kidnapped. It doesn't help matters that Bean has lost his wallet, tickets and passport.
Along the way, Bean encounters a group of filmmakers including egomaniac Carson Clay (Willem Dafoe) and a friendly young actress, Sabine (Emma de Caunes). Soon they all find themselves heading for Cannes and a climax at the premiere of Clay's pretentious new film to which Bean makes an unexpected contribution.
Atkinson is given several set pieces in which director Steve Bendelack, a British TV veteran, pretty much lets him get on with it. These include the lengthy restaurant sequence that is squishy enough to please youngsters; an empty-road scene that draws from "North by Northwest" and "Lawrence of Arabia" without turning into anything especially amusing; and a clever bit in which Bean manages to stride straight out from the top of the Palais des Festivals in Cannes to the beach without missing a step.
Cinematographer Baz Irvine and production designer Michael Carlin make sure the film has plenty of color and movement, helped by Howard Goodall's jaunty score.
Baldry and de Caunes are appealing as Bean's foils, though Dafoe appears to think he's in a pantomime and hams up a storm. Atkinson reportedly says this is Bean's last outing. While the film is amusing, it is disappointing that Atkinson appears content to play it safe. It would have been fun to see him aim higher.
MR. BEAN'S HOLIDAY
Universal Pictures
StudioCanal presents a Working Title production in association with Tiger Aspect Pictures
Credits:
Director: Steve Bendelack
Screenwriters: Hamish McColl & Robin Driscoll
Story: Simon McBurney
Producers: Peter Bennett-Jones, Tim Bevan, Eric Fellner
Executive producers: Simon McBurney & Richard Curtis
Director of photography: Baz Irvine
Production designer: Michael Carlin
Editor: Tony Cranstoun
Costume designer: Pierre-Yves Gayraud
Composer: Howard Goodall
Cast:
Bean: Rowan Atkinson
Stepan: Max Baldry
Sabine: Emma de Caunes
Carson Clay: Willem Dafoe
Emil: Karel Roden
Maitre d': Jean Rochefort
Running time -- 88 minutes
MPAA rating: PG...
- 3/27/2007
- The Hollywood Reporter - Movie News
Mr. Bean's Holiday
LONDON -- Calling his new film Mr. Bean's Holiday sets the bar awfully high for the latest adventures of Rowan Atkinson's bumbling comic creation. It inevitably invites comparison with Jacques Tati's priceless 1953 farce "Mr. Hulot's Holiday." Unlike the French classic, however, the new picture has plenty of chuckles but few outright laughs as Bean wins a raffle ticket for a vacation in the south of France but loses his way and causes minor havoc roaming the countryside.
Atkinson remains an expert clown, and there are sufficient numbers of gags to ensure that Bean fans worldwide will be kept fairly happy. It's difficult to see the film doing blockbuster business, but it inevitably will have a long DVD shelf life.
The screenplay by British TV writer Hamish McColl and Bean regular Robin Driscoll wastes little time in getting the fussy hero with his ever-present digital movie camera onto the Eurostar headed for Paris. Unable to speak the language and not willing to learn, he is equally incapable of even the basic tourist sign language. He can't order food in a restaurant, find the right train or make a phone call.
As a result, there's little by way of satire, and the jokes depend on Bean's stupidity. This involves such things as ingesting langoustine whole and pitching fresh oysters into his napkin that he then tips into a woman's handbag.
At the Gare de Lyon, Bean's determination to record his trip on video involves a genial fellow, Emil (Karel Roden), who happens to be a Russian film director on his way to the Festival de Cannes. Accidentally leaving Emil stuck on the platform, Bean hooks up with the director's resourceful son Stepan (Max Baldry) as the train heads south.
Bean contrives to miss the train himself at another stop but somehow finds Stepan again, little knowing that the boy's father has reported him kidnapped. It doesn't help matters that Bean has lost his wallet, tickets and passport.
Along the way, Bean encounters a group of filmmakers including egomaniac Carson Clay (Willem Dafoe) and a friendly young actress, Sabine (Emma de Caunes). Soon they all find themselves heading for Cannes and a climax at the premiere of Clay's pretentious new film to which Bean makes an unexpected contribution.
Atkinson is given several set pieces in which director Steve Bendelack, a British TV veteran, pretty much lets him get on with it. These include the lengthy restaurant sequence that is squishy enough to please youngsters; an empty-road scene that draws from North by Northwest and Lawrence of Arabia without turning into anything especially amusing; and a clever bit in which Bean manages to stride straight out from the top of the Palais des Festivals in Cannes to the beach without missing a step.
Cinematographer Baz Irvine and production designer Michael Carlin make sure the film has plenty of color and movement, helped by Howard Goodall's jaunty score.
Baldry and de Caunes are appealing as Bean's foils, though Dafoe appears to think he's in a pantomime and hams up a storm. Atkinson reportedly says this is Bean's last outing. While the film is amusing, it is disappointing that Atkinson appears content to play it safe. It would have been fun to see him aim higher.
MR. BEAN'S HOLIDAY
Universal Pictures
StudioCanal presents a Working Title production in association with Tiger Aspect Pictures
Credits:
Director: Steve Bendelack
Screenwriters: Hamish McColl & Robin Driscoll
Story: Simon McBurney
Producers: Peter Bennett-Jones, Tim Bevan, Eric Fellner
Executive producers: Simon McBurney & Richard Curtis
Director of photography: Baz Irvine
Production designer: Michael Carlin
Editor: Tony Cranstoun
Costume designer: Pierre-Yves Gayraud
Composer: Howard Goodall
Cast:
Bean: Rowan Atkinson
Stepan: Max Baldry
Sabine: Emma de Caunes
Carson Clay: Willem Dafoe
Emil: Karel Roden
Maitre d': Jean Rochefort
Running time -- 88 minutes
MPAA rating: PG...
Atkinson remains an expert clown, and there are sufficient numbers of gags to ensure that Bean fans worldwide will be kept fairly happy. It's difficult to see the film doing blockbuster business, but it inevitably will have a long DVD shelf life.
The screenplay by British TV writer Hamish McColl and Bean regular Robin Driscoll wastes little time in getting the fussy hero with his ever-present digital movie camera onto the Eurostar headed for Paris. Unable to speak the language and not willing to learn, he is equally incapable of even the basic tourist sign language. He can't order food in a restaurant, find the right train or make a phone call.
As a result, there's little by way of satire, and the jokes depend on Bean's stupidity. This involves such things as ingesting langoustine whole and pitching fresh oysters into his napkin that he then tips into a woman's handbag.
At the Gare de Lyon, Bean's determination to record his trip on video involves a genial fellow, Emil (Karel Roden), who happens to be a Russian film director on his way to the Festival de Cannes. Accidentally leaving Emil stuck on the platform, Bean hooks up with the director's resourceful son Stepan (Max Baldry) as the train heads south.
Bean contrives to miss the train himself at another stop but somehow finds Stepan again, little knowing that the boy's father has reported him kidnapped. It doesn't help matters that Bean has lost his wallet, tickets and passport.
Along the way, Bean encounters a group of filmmakers including egomaniac Carson Clay (Willem Dafoe) and a friendly young actress, Sabine (Emma de Caunes). Soon they all find themselves heading for Cannes and a climax at the premiere of Clay's pretentious new film to which Bean makes an unexpected contribution.
Atkinson is given several set pieces in which director Steve Bendelack, a British TV veteran, pretty much lets him get on with it. These include the lengthy restaurant sequence that is squishy enough to please youngsters; an empty-road scene that draws from North by Northwest and Lawrence of Arabia without turning into anything especially amusing; and a clever bit in which Bean manages to stride straight out from the top of the Palais des Festivals in Cannes to the beach without missing a step.
Cinematographer Baz Irvine and production designer Michael Carlin make sure the film has plenty of color and movement, helped by Howard Goodall's jaunty score.
Baldry and de Caunes are appealing as Bean's foils, though Dafoe appears to think he's in a pantomime and hams up a storm. Atkinson reportedly says this is Bean's last outing. While the film is amusing, it is disappointing that Atkinson appears content to play it safe. It would have been fun to see him aim higher.
MR. BEAN'S HOLIDAY
Universal Pictures
StudioCanal presents a Working Title production in association with Tiger Aspect Pictures
Credits:
Director: Steve Bendelack
Screenwriters: Hamish McColl & Robin Driscoll
Story: Simon McBurney
Producers: Peter Bennett-Jones, Tim Bevan, Eric Fellner
Executive producers: Simon McBurney & Richard Curtis
Director of photography: Baz Irvine
Production designer: Michael Carlin
Editor: Tony Cranstoun
Costume designer: Pierre-Yves Gayraud
Composer: Howard Goodall
Cast:
Bean: Rowan Atkinson
Stepan: Max Baldry
Sabine: Emma de Caunes
Carson Clay: Willem Dafoe
Emil: Karel Roden
Maitre d': Jean Rochefort
Running time -- 88 minutes
MPAA rating: PG...
- 3/27/2007
- The Hollywood Reporter - Movie News
The Lives of the Saints
LOCARNO -- Be careful what you wish for is a maxim explored smartly by photographer and publisher Rankin and his co-director Chris Cottam in their well measured little fable The Lives of the Saints, set on the criminal streets of northeast London.
When a swift-moving courier known as the Roadrunner (Daon Broni), who delivers everything from drugs to lottery tickets, stumbles over an unwashed and wide-eyed youngster (Sam MacLintock) in the park, the lives of several people start to change in the most unexpected way: Yhey begin to get what they want.
Mixing elements of the supernatural with street crime and aspects of religion, the film, debuting in competition at the Locarno International Film Festival, delivers a tidy punch and with the right support it could find an appreciative mainstream audience.
The Roadrunner, whose relentless need to be on the move is given gentle pause by his encounter with the child, drops him off at the home of Othello (David Leon), a slick young man who is prince to the local crime king Mr. Karva (James Cosmo).
While his live-in girlfriend Tina (Emma Pierson) sees the strange boy as just a kid, Othello interprets the youngster's oblique mutterings as words of prophecy. In writing down the unrelated letters the boy utters, he sees the names of the winners of horse and dog races, and is soon making a fortune in gambling.
The boy's gaze appears to entrance a chosen few including a waitress, Christella (Gillian Kearney), and the local priest, Father Daniel Marc Warren). By appearing to unleash their secret desires, the boy seems to prove that he is a benign oracle or, as some believe, an angel.
But with his riches, Othello grows independent of Karva, a colorful brute of a man, who views his own declining fortune with alarm. He seeks the child in order to return life to what he sees as its natural order, with him as its glowering ruler. So he employs Othello's dim sidekick, Emilio (Bronson Webb), to do his dirty work. Karva and Emilio have hidden wishes too, however, and when the child grants them, the results complicate all their lives.
Rankin and Cottam employ Tony Grisoni's economical screenplay to great effect and the acting is outstanding. MacLintock is well cast as the wondrously calm boy with the haunting eyes and Cosmo makes a lively impression as the larger-than-life crime king. The film's humor is sly and inventive as the granted wishes take darkly comic and ultimately deadly turns.
Director of photography Baz Irvine, production designer Mark Digby and editor Chris Gill deserve praise for their contributions to an entertaining film that pleases with its look and pace as much as its content.
THE LIVES OF THE SAINTS
Dazed Film & TV
Credits:
Directors: Rankin, Chris Cottam
Writer: Tony Grisoni
Producer: Laura Hastings-Smith
Executive producer: Augusto Romano
Director of photography: Baz Irvine
Production designer: Mark Digby
Music: Rob Lane
Editor: Chris Gill.
Cast: Othello: David Leon
The child: Sam MacLintock
Roadrunner: Daon Broni
Mr. Karva: James Cosmo
Tina: Emma Pierson
Emilio: Bronson Webb
Christella: Gillian Kearney
Father Daniel: Marc Warren
Mark Digby: James Holmes
Mad Turk: Peter Rnic
Drunk/Michali: Paddy Fletcher
Granny: Stella Quilley
Maqsood Junior: Raj Ghatak
Maqsood Senior: Reny Senta
No MPAA rating
Running time -- 100 minutes...
When a swift-moving courier known as the Roadrunner (Daon Broni), who delivers everything from drugs to lottery tickets, stumbles over an unwashed and wide-eyed youngster (Sam MacLintock) in the park, the lives of several people start to change in the most unexpected way: Yhey begin to get what they want.
Mixing elements of the supernatural with street crime and aspects of religion, the film, debuting in competition at the Locarno International Film Festival, delivers a tidy punch and with the right support it could find an appreciative mainstream audience.
The Roadrunner, whose relentless need to be on the move is given gentle pause by his encounter with the child, drops him off at the home of Othello (David Leon), a slick young man who is prince to the local crime king Mr. Karva (James Cosmo).
While his live-in girlfriend Tina (Emma Pierson) sees the strange boy as just a kid, Othello interprets the youngster's oblique mutterings as words of prophecy. In writing down the unrelated letters the boy utters, he sees the names of the winners of horse and dog races, and is soon making a fortune in gambling.
The boy's gaze appears to entrance a chosen few including a waitress, Christella (Gillian Kearney), and the local priest, Father Daniel Marc Warren). By appearing to unleash their secret desires, the boy seems to prove that he is a benign oracle or, as some believe, an angel.
But with his riches, Othello grows independent of Karva, a colorful brute of a man, who views his own declining fortune with alarm. He seeks the child in order to return life to what he sees as its natural order, with him as its glowering ruler. So he employs Othello's dim sidekick, Emilio (Bronson Webb), to do his dirty work. Karva and Emilio have hidden wishes too, however, and when the child grants them, the results complicate all their lives.
Rankin and Cottam employ Tony Grisoni's economical screenplay to great effect and the acting is outstanding. MacLintock is well cast as the wondrously calm boy with the haunting eyes and Cosmo makes a lively impression as the larger-than-life crime king. The film's humor is sly and inventive as the granted wishes take darkly comic and ultimately deadly turns.
Director of photography Baz Irvine, production designer Mark Digby and editor Chris Gill deserve praise for their contributions to an entertaining film that pleases with its look and pace as much as its content.
THE LIVES OF THE SAINTS
Dazed Film & TV
Credits:
Directors: Rankin, Chris Cottam
Writer: Tony Grisoni
Producer: Laura Hastings-Smith
Executive producer: Augusto Romano
Director of photography: Baz Irvine
Production designer: Mark Digby
Music: Rob Lane
Editor: Chris Gill.
Cast: Othello: David Leon
The child: Sam MacLintock
Roadrunner: Daon Broni
Mr. Karva: James Cosmo
Tina: Emma Pierson
Emilio: Bronson Webb
Christella: Gillian Kearney
Father Daniel: Marc Warren
Mark Digby: James Holmes
Mad Turk: Peter Rnic
Drunk/Michali: Paddy Fletcher
Granny: Stella Quilley
Maqsood Junior: Raj Ghatak
Maqsood Senior: Reny Senta
No MPAA rating
Running time -- 100 minutes...
- 8/7/2006
- The Hollywood Reporter - Movie News
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