A new universe awaits… Rebel Moon – Part One: A Child of Fire will be available to stream starting December 22nd exclusively on Netflix.
From Zack Snyder, the filmmaker behind 300, Man of Steel, and Army of the Dead, comes REBEL MOON, a 2-part movie event decades in the making.
After crash landing on a moon in the furthest reaches of the universe, Kora (Sofia Boutella), a stranger with a mysterious past, begins a new life among a peaceful settlement of farmers. But she soon becomes their only hope for survival when the tyrannical Regent Balisarius (Fra Fee) and his cruel emissary, Admiral Noble (Ed Skrein), discover the farmers have unwittingly sold their crops to the Bloodaxes (Cleopatra Coleman and Ray Fisher) — leaders of a fierce group of insurgents hunted by the Motherworld.
Tasked with finding fighters who would risk their lives to defend the people of Veldt, Kora and Gunnar (Michiel Huisman), a tenderhearted farmer naive in the realities of war, journey to different worlds in search of the Bloodaxes, and assemble a small band of warriors who share a common need for redemption along the way: Kai (Charlie Hunnam), a pilot and gun for hire; General Titus (Djimon Hounsou), a legendary commander; Nemesis (Doona Bae), a master swordswoman; Tarak (Staz Nair), a captive with a regal past; and Milius (E. Duffy), a resistance fighter. Back on Veldt, Jimmy (voiced by Anthony Hopkins), an ancient mechanized protector hiding in the wings, awakens with a new purpose. But the newly formed revolutionaries must learn to trust each other and fight as one before the armies of the Motherworld come to destroy them all.
Collider.com — During this 1-on-1 interview with Collider, which was conducted prior to the official cancellation of the series, Hunnam talked about only telling one third of the story of Lin Ford, having the ability to be completely objective about his own performance, why he feels like a filmmaker trapped in an actor’s career, wanting to be challenged with his work, what he most enjoyed about working with this cast, and his desire to focus more of his time on writing. He also talked about how the music of Tom Waits has made it onto a few of his writing playlists, and what the deal is with that project he previously alluded to, in connection with Jax Teller.
Collider: I recently read that you’re a fan of Tom Waits and you said that he excites your imagination more than most other artists do. Being an enormous fan of Tom Waits myself, and his ability to get me to visualize whatever story he’s telling in any song of his, I’m curious whether you’ve ever used his music to inspire you for a role, or for any of the writing you do. Do you ever use his art as inspiration for your own art, in any way?
CHARLIE HUNNAM: Oh, Tom Waits has definitely appeared on a few writing playlists that I have. In particular, I’ve been working on something recently, and I was listening a lot to “Cold Water” from Mule Variations. It’s definitely in the top 20 of my favorite songs. Maybe not necessarily top five. But it was just a vibe that I was looking for. I would say that my introduction to great music was through Leonard Cohen and Tom Waits. They’ve both always been very, very important to me.
Ending the season of Shantaram with “To Be Continued” is certainly a bold move, especially when there are no guarantees in television. What led to that decision?
HUNNAM: Yeah. I can’t take any credit or blame for that. It was not my choice, nor my conviction, to do that. That was probably (showrunner) Steve Lightfoot. I’m not sure. I would think that was more Steve Lightfoot than our colleagues at Apple.
Listen, by virtue of the fact that this is an adaptation of a novel, and we’ve only told, at a maximum, one third of the story, our hope that this would be continued is somewhat self-evident, for those who actually know the novel and know that this isn’t where the story ends. When we get to the end of the season, I also don’t think it feels like the story’s over. I’m not so sure if we needed to put it in black and white, “to be continued,” but I think that the idea was that we would leave with a sense of unfinished business. Sometimes people worry that the devil might not actually be in the details, and that you need to put things in black and white to really punctuate the point.
As a producer on this, and just generally when you’re a producer on a project that you’re hoping will continue on, are you able to be objective in watching your own performance and figuring out what you might want to shift or change, from season to season? How do you handle that? Are you someone who can get out of your own head enough to think about it, and see what’s best for the show and for your own performance?
HUNNAM: Yes, I am. I definitely have the ability to be completely objective. I have a very clear view, or at least my own perspective and opinion, of what we did well and what we could do significantly better, as a show, at large, and that’s also true with my work. It’s a funny thing, within the hierarchy of television production, the people who are paying for it, get to make a lot of the decisions. And then, of course, the creator gets to make a lot of the decisions. By the time it gets to my position, even being a producing asset, most of the decisions have already been made. My experience is that I can have some latitude to be able to affect the small decisions, but the big stuff is way above my pay grade, unfortunately. I would love to be right in the kitchen, designing the menu, but I’m much more of a sous-chef, being told what to do.
I appreciate that metaphor, so thank you for that.
Deadline.com— Apple TV+’s drama series Shantaram, starring Charlie Hunnam, will not be returning for a second season. Its Season 1 finale, to be released tomorrow, December 16, will serve as a series finale.
Based on Gregory David Roberts’ epic, 900-plus-page novel, Shantaram was an ambitious, big-scope undertaking, shot across two continents, that was impacted by the pandemic.
The series had shot two episodes before pausing filming in late February 2020. Because of its expansive nature requiring filming in multiple countries, the series did not resume production on the remaining 10 episodes until May 2021.
Shantaram, which hasn’t generated the level of buzz some of Apple TV+’s popular titles have, follows Lin Ford (Hunnam), who escapes a maximum-security Australian prison, reinvents himself as a doctor in the slums of 1980s Bombay, gets entangled with a local mafia boss and eventually uses his gun-running and counterfeiting skills to fight against the invading Russian troops in Afghanistan. All the while he is falling for an enigmatic and intriguing woman named Karla (Antonia Desplat) and must choose between freedom or love and the complications that come with it.
The series also stars Shubham Saraf, Elektra Kilbey, Fayssal Bazzi, Luke Pasqualino, Alyy Khan, Sujaya Dasgupta, Vincent Perez, David Field, Alexander Siddig, Gabrielle Scharnitzky, Elham Ehsas, Rachel Kamath, Matthew Joseph and Shiv Palekar.
Before getting a greenlight at Apple TV+ as a series, Roberts’ book had been the subject of multiple unsuccessful attempts to turn it into a movie franchise, led by Johnny Depp.
The Shantaram series was written and executive produced by showrunner Steve Lightfoot. Bharat Nalluri directed and executive produced. Andrea Barron, Nicole Clemens, Steve Golin, Justin Kurzel and Eric Warren Singer, who co-created the series with Lightfoot, also executive produced. The series was produced for Apple by Paramount Television Studios and Anonymous Content’s AC Studios.
EW.com — Charlie Hunnam wants to know what happens to his character Lin Ford after Shantaram’s brutal season 1 finale cliffhanger just as much as you do. But it might be a while until we find out what happens next, because the star/producer of Apple TV+’s drama doesn’t have any news to share on whether or not the adaptation of Gregory David Roberts’ 2003 international best-selling novel will return for a second season (Shantaram was canceled after this interview was conducted).
“It’s unlike working for a traditional network which I’d been used to doing, where there was some sort of indication of if anyone was watching the show or not — it’s not how streaming platforms work — so it’s a little bit bittersweet in that season 1 is coming to an end,” Hunnam tells EW. “Out on the streets, I get a sense that people are enjoying it and watching it, and creatively for me, it feels satisfying that we actually managed to get to the finish line and now all of the episodes have aired and I just hope people actually enjoyed it.”
The season 1 finale almost ended with Lin getting his happy ending with Karla (Antonia Desplat) after surviving the bloody gang war and evading Nightingale (David Field). They planned to leave the city together after finally confessing their love for each other, but when Lin arrived at the train station to meet up with Karla, he was caught and taken to a dark cell. The finale closes on a shot of Lin being violently beaten while tied up in the cell as Karla cries on the train, thinking Lin changed his mind and didn’t want to leave with her.
Below, Hunnam breaks down that tragic finale ending and more.
ENTERTAINMENT WEEKLY: What have you thought about the response to the show now that all the episodes are out?
CHARLIE HUNNAM: People seem to have really appreciated that it felt grounded and quite authentic. The hope was, for those people who’ve not been lucky enough to experience Asia and India in particular, that they felt like they were transported and had an opportunity to feel that environment and the beauty of that part of the world. That’s been really, really satisfying. And as the season has gone along and built up the question of what will happen between Lin and Karla, that’s been really satisfying — it seems as though people got quite excited and invested in that relationship.
And then, of course, what I already knew would happen is that Shubham [Saraf], who plays Prabhu, just has been getting an unbelievably positive response. He’s my really good pal and I felt so grateful and excited to have him in the show and be such a partner in crime with him. I have just been delighted that he’s been getting such a positive response. We really, really loved each other. We got on so well and deeply connected.
The finale ends with Lin captured as Karla leaves without him, unaware he was caught at the station just a few feet away from her. Why end the season there?
I had a really wonderful, deep collaboration with Steve Lightfoot, our showrunner. That was really his decision, but thankfully he was very eager to get my insights in how I felt about some of the decisions he was making. We both knew the novel so well and we talked a lot about allowing the novel to dictate the moves that we were making. The point that we reached by the end of the first season, it just felt, the more we read it and discussed it, like the obvious point to end this chapter of the story. Lin going from incarceration to, presumably, back into incarceration felt like a very elegant arc for the first season and hopefully a fairly dynamic point to start the second season, if I’m lucky enough to go back for a second season.
How does coming so close to getting a happy ending with Karla before it gets ripped away affect Lin going into a second season?
This is no indication of decisions that have been made, but my sense is that, through the course of the first season, Lin goes from being a fairly normal, average person who’s at the mercy of the forces around him. Though he has a sense of who he is, it’s not like a classic hero on a hero’s journey where he’s full of agency and a sense of conviction of what he wants with his life. He’s more leaf in the wind being blown this way and that. My sense is, by the end of season 1, he is no longer willing to be just completely vulnerable to the forces around him, that instead he is going to march to the beat of his own drum and decide that the chips fall where they may.
There’s a moment at the very, very end where the camera’s pretty close to Lin and you get the sense that, although he’s tied up and being beaten, he is still owning his space and refusing to bow down to the circumstances that he finds himself in. Moving forward, hopefully we allow Lin to have a much greater sense of conviction and agency over the trajectory of his life.
NYTimes.com — Seven years ago, the British actor Charlie Hunnam took a book with him on an overseas vacation and was so engrossed that he didn’t get around to sightseeing.
“I literally did not see one vista of Thailand,” he said, and it was because of “Shantaram,” Gregory David Roberts’s 2003 novel about a bank robber who escapes an Australian prison and takes refuge in a Mumbai slum. “I was exclusively in India for that trip, with my nose in the book.”
With that, his friend, the screenwriter Eric Warren Singer, succeeded in turning Hunnam onto his obsession — adapting “Shantaram.”
Others had spent years trying. Warner Brothers had acquired the rights, with Johnny Depp slated to star as the robber, Lin Ford. But directors and screenwriters had come and gone, and Depp took on other work. When the rights finally became available, Singer and Hunnam’s team was outbid but ultimately won the creative pitch.
Now Hunnam is playing Lin in the Apple TV+ series, and Singer is billed as a co-creator with Steve Lightfoot.
In the end, timing was everything.
“I was entering my mid-30s and was asking some bigger questions about the nature of God and what my journey was turning out to be,” Hunnam said in a phone interview from Toronto, where he was on a press tour. While Lin’s quest was extraordinary, he added, “had this come to me two or three years earlier, I wouldn’t have had the same reactions.”
Hunnam, who is moving into writing and producing, plans to spend the next six months creating a series that he couldn’t talk about. But he spoke openly about a few things that rule his world — opinion-free news, the Lake District in England and his iPod — and pondered his final resting place.
These are edited excerpts from the conversation.
1. “Bloomberg Surveillance”
I’m appalled by the nature of modern journalism and quote-unquote the news. There’s a lot of conjecture, there’s a lot of opinion, and there’s too little facts. I want to know what’s going on, but I want that information to be given to me in a fairly neutral way. “Bloomberg Surveillance” is looking at the world exclusively through the lens of the economy. I find that much more palatable than being told that this politician is the devil and that one is Jesus reincarnated.
I have a strange sense that maybe I was born in the wrong form — you know, maybe I was born a cat in a human body — because outside of my parents and my current partner, my most important relationship was with my cat George that I had for 19 years. And I constantly run into cats. I ended up buying a piece of land in central California because this magnificent female mountain lion was living there. I hope that this doesn’t end up in disaster, but I am making a fairly reckless plan to become friends.
3. Van Morrison, Tom Waits and Leonard Cohen
Waits excites my imagination as much if not more than any other artist. Morrison is a king of sad, melancholy nostalgia. And the summer of being 14 or 15, I found marijuana for the first time, and I found Leonard Cohen. There was something about that summer that told me who I wanted to be — that there was a world out there that I wanted to gravitate toward. It was a sense of coming to life in a way that art can invoke.
4. “Tribe” by Sebastian Junger
Junger goes on this journey of exploration to understand PTSD because he’d been embedded as a war correspondent — recognizing that PTSD is not only about the trauma, it’s about the experience and loss of that. Where he comes down is ultimately the importance of community and collective experience. Isolation is the recipe for disaster.
5. The Lake District in England
I grew up in Newcastle and was very popular until I was 12 years old. Then I went across the country to a place that was far less cosmopolitan. My first day, this kid two years older than me blocks my path, and he was asking, “New boy, where’d you come from?” I was getting a bit nervous, and he said, “Do you want a go?” And I said yes. I didn’t know that that was colloquial for fighting. So he punched me straight in the face. That was how that five years in the district continued: just an absolute crucible of violence and isolation. But I had this extraordinary natural wonder literally on my doorstep. I took to the mountains, walking and planning what my life was going to be when I was old enough to live it on my own terms. Continue reading Press/Interview: Charlie Hunnam Discusses Being a Cat Person, His Appreciation For His iPod and More with The New York Times
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