Hello friends! Following Matt post on Instagram, we learned he watched the musical Dear Evan Hansen on Broadway last night supporting some of his friends.
I’ve added some MQ pictures in our gallery, the quality will be upgraded ASAP.
An award-winning costume and production designer team (including ‘Mad Men’s’ Janie Bryant) delivers a visual feast to the streamer’s new series, starring Matt Bomer and Kelsey Grammer as a studio head and his boss. – Cathy Whitlock to Pret-a-Reporter
The closest template was always going to be a Downton Abbey,” says writer-director Billy Ray (whose screenplay credits include The Hunger Games and Captain Phillips) of the look of Amazon’s adaptation of The Last Tycoon, out July 28.
Based on F. Scott Fitzgerald’s unfinished roman a clef of Hollywood’s golden age during the Depression, the series deployed a dream team of Oscar-winning production designer Patrizia von Brandenstein (Amadeus) and Emmy-winning costume designer Janie Bryant (Mad Men). Both drew inspiration from Edward Steichen protege and MGM photographer George Hurrell, known for his black-and-white images of 1930s stars, to dress and give visual context to Matt Bomer’s Irving Thalberg-inspired studio head, Monroe Stahr, who goes head-to-head with boss Pat Brady, played by Kelsey Grammer, at a time where the Depression and Nazis were knocking on the door. “The story we are telling is not just [the gap between] the dream of Hollywood and the reality of Hollywood, but why the dream has such a powerful grasp on everybody in it — why all the characters are shaping this dream with such obsession and focus,” says Ray. Adds executive producer Chris Keyser: “I wanted to tell this story about the cost of the American dream as applied to Hollywood, the cost of lies that movies tell.” Marc Resteghini, senior development executive, drama, at Amazon Studios, concurs: “The Last Tycoon will immerse our customers in this fascinating era of cinematic history, with emotional and artistic struggles and themes that still resonate today.”
Continue reading How Amazon’s ‘The Last Tycoon’ Brought 1930s Hollywood Glamour Back to Life
“The Last Tycoon,” a nine-episode series, is the latest good-looking attempt to adapt F. Scott Fitzgerald for the screen. – By Brooks Barnes to NY Times
Meltdowns are not Matt Bomer’s style, not even remotely, but he would have been due one in mid-March.
It was late afternoon, and Mr. Bomer had been at work since 5 a.m. on the set of “The Last Tycoon,” the latest adaptation of F. Scott Fitzgerald’s unfinished novel about Old Hollywood. Mr. Bomer, as Monroe Stahr, a gifted young movie executive, had started the day with a difficult monologue about death and moved on to a hot-and-heavy love scene. A confrontational third scene, performed with Kelsey Grammer (as Stahr’s thunderhead boss, Pat Brady), had left Mr. Bomer emotionally raw.
Then I arrived to ask him jagged questions. For more than 90 years, Hollywood has been trying and failing to pull off the perfect Fitzgerald adaptation. Why couldn’t anyone seem to get it right? What would keep this “Last Tycoon,” arriving on Amazon Prime on Friday, July 28, from becoming another sad example?
“Making a great television show is hard enough,” Mr. Bomer said carefully. “To also tackle F. Scott — whoa. But when you have brilliant people guiding you, people like Billy, you trust their vision and go for it.”
Continue reading Amazon Tackles Hollywood’s F. Scott Fitzgerald Obsession
We’re just at 10 days away from The Last Tycoon premiere – it will premiere next July 28 on Amazon – and Matt will be making his rounds on TV shows to promote it. So, check your DVD-Rs:
Live with Kelly and Ryan – July 24
The Tonight Show Starring Jimmy Fallon – July 25
This post will be updated, if more appearances are confirmed.
With my computer being broken this past month, I ended missing this great review The Hollywood Reporter has published about Anything, that premiered on LA Film Festival. The review was published right after the clip was released, and I can’t wait to see more of it.
A pleasingly quiet, small-scaled drama about love between strangers and siblings, solidarity between lonely Angelenos and the transformative power of kindness, Anything has much to recommend it. Chief among the film’s charms is the pair of beautifully matched performances at its center: John Carroll Lynch as a depressed widower and Bomer as the trans sex worker he meets when he moves from Mississippi to Hollywood. Backed up by a seamless ensemble and sensitive direction by Timothy McNeil (adapting his own 2007 play for his feature directorial debut), the two leads help the film overcome some daunting clichés and contrivances. After preparing you for the worst — another story of a straight white man saved by the grace of an oppressed minority — Anything sneaks up on you with sharp stabs of humor and surprising depth of feeling.
(…)Lynch, a reliably versatile performer, can project either stomach-turning menace (Zodiac) or down-home decency (the Coens’ Fargo) without breaking a sweat. Here, he plays Early as a placid man with a storm of roiling feelings right below the surface; the actor makes his character’s goodness interesting and complex. And Bomer, who was decorative in the Magic Mike movies but dug deep as the closeted New York Times reporter in Ryan Murphy’s The Normal Heart, gives a performance of real warmth and delicacy. Rather than play Freda as a force of nature or a collection of mannerisms — the typical default modes of actors playing trans women — Bomer renders her fully dimensional: an unpredictable tangle of impulses, by turns defensive and tender. (It’s worth noting that associate producer Kylene K. Steele, a transgender woman, was a personal consultant to Bomer throughout the shoot.)
Some of the more literary dialogue betrays the film’s stage origins, but McNeil has done a fine job of opening the play up and airing it out. Those efforts are boosted by original music from all-female band Spectacular Spectacular and evocative work from Moonlight lenser James Laxton, who captures a range of L.A. moods and settings, from the spooky serenity of a late-night ocean dip to the harsh noise and light of an afternoon in Hollywood.
You can read the full review – talking more about the movie – on The Hollywood Reporter website.