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How the ‘Bones and All’ Cannibal Scenes Were Brought to Life: A Baby Bottle, Syrup and Brownies



Luca Guadagnino’s latest cinematic release, “Bones and All,” is a grisly return to the horror genre for the director, whose last hair-raising feature was 2018’s “Suspiria.” But in order to bring the film’s sickening cannibal scenes to life, Guadagnino heavily relied upon the talents of his long-time make-up department head and close friend Fernanda Perez.

“I always brought baby bottles of some mouth blood,” Perez told Variety, describing how fake blood was used in each of the scenes. “It was ridiculous because I was always following the actors with this baby bottle. But for Mrs. Harmon’s scene and for the end of the movie, we used a mix of syrups and brownies [for fake blood].”

Perez estimates she went through well over 10 liters of fake blood during production.

But an unforeseen complication soon arose when the syrupy mixture would crust onto the actors’ skin after prolonged contact. To reactivate the liquid, Perez would make rounds on set with a hot water bottle, squirting the cast.

“At the end, the acting I think was more the suffering because of all this blood they had stuck in their bodies,” Perez joked.

The bloody feature is a dark romance between teenage antiheroes Maren (Taylor Russell) and Lee (Timothée Chalamet) who have the compulsion to eat people. The film is based on a 2015 novel of the same title by Camille DeAngelis and is ultimately is a love story. When Maren is abandoned by her father, she encounters Lee and other cannibals on a seemingly never-ending road trip to escape her past.

Perez described “Bones and All” as her most challenging project to date, largely in part to Guadagnino’s painstaking specificity.

“Luca is very specific, and in my opinion, one of the great qualities is that he has this capacity to put the viewer in a really immersive experience,” Perez continued. “After a while, you are not only watching and listening to the movie, but you start to feel it, to smell it, and you begin to relish it.”

Perez conducted extensive research to ensure the aesthetics of each character aligned with the road-trip film’s setting, which takes place across Maryland, Kentucky, Virginia and Ohio during the late 1980s. Using photos of people from that time period in the corresponding states, Perez was able to draw inspiration from real people when testing looks for the full cast.

“I think the biggest resemblance is André Holland, Maren’s father. We made him look exactly like the photograph of a family we found,” Perez said.

Beyond the meticulous pre-production process, Perez said the task of distinguishing the appearances of the “eaters” — as the cannibals are called in the film — from the humans was especially daunting. Guadagnino emphasized that the cannibals should appear normal at first glance — meaning Perez would have to get down and dirty to differentiate predator from prey.

Perez utilized subtle details to achieve this distinction: spraying blood underneath the fingernails of the eaters, leaving other small drops of forgotten blood on the body and creating scars that allude to these characters’ violent pasts. In the case of fellow cannibals like Sully (Mark Rylance), Brad (David Gordon Green) and Jake (Michael Stuhlbarg), carefully-selected physical attributes are connected to a broader untold story, Perez revealed.

“Timothée had six scars on his body [that were applied] daily. With Brad, we decided to give him a bite on his hand,” Perez said. “You don’t see it, but it’s there. [As a backstory, we decided that] maybe when he met Jake, he had tried to bite him…” She continues, “Sully has a big scar from his cheek that finishes at the end of his ear. We asked, ‘What is this? Maybe it’s a fight with another eater?’ He has [another] scar that we decided was going to be there because he was trying to eat something and a bone cut his chin.”

Jason Hamer, owner and creative director of Hamer FX, created the prosthetics for the film, working closely with Perez on the abundant shots of bodily disfigurement. Detailed conversations with a pathologist gave the two an understanding of what it takes to actually consume another human being — knowledge they were then able to translate into a more visceral, lifelike depiction of cannibalism throughout the movie.

“It’s not easy to eat someone, because before you get to the meat of the muscles — which is the soft part — you have to break through a lot of fat, and it depends where you eat that, maybe you’re going to find some organs,” Perez said. “Luca wanted to have the residue of all this stuff.”

Perez first met Guadagnino in 1996 during the production of his first short film, “Qui,” and their connection was immediate. Ever since, Perez has collaborated with Guadagnino, including 2017’s “Call Me by Your Name” and the 2020 drama series “We Are Who We Are.” The two have even enjoyed family vacations together.

“Every movie I do with Luca is a joy, because he’s my best friend,” Perez said. “Every movie is a memory of our friendship.”

Perez and Guadagnino also just wrapped production for the upcoming 2023 feature “Challengers,” a film about a tennis competition set to star Zendaya. And though the upcoming film is a complete shift in genre from “Bones and All,” Perez assures fans that just as much research was required in order to infuse the feature with Guadagnino’s signature realism.

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Oscars 2023 Will Include All 23 Categories Presented Live on Air (EXCLUSIVE)



All 23 categories will be aired during the Oscars 2023 telecast.

Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences, announced the news exclusively to Variety Tuesday morning. “I can confirm that all categories will be included in the live telecast,” he said.

The news comes after eight different Oscar categories — original score, makeup and hairstyling, documentary short, film editing, production design, animated short, live action short and sound — were cut from the main telecast at the 2022 Academy Awards, leading to much outrage across the film industry.

“We are committed to having a show that celebrates the artisans, the arts and sciences and the collaborative nature of moviemaking. This is very much what the mission of the Academy is, and I am very hopeful that we can do a show that celebrates all components of moviemaking in an entertaining and engaging way,” Kramer said.

Since his appointment in June, Kramer said he’s had many conversations about restoring the missing categories: “We are thrilled to be in a position to execute that.”

Jimmy Kimmel will return for the third time to host the Oscars. Kramer said he was excited to have the late-night host back. “I love having someone hosting the show who knows live television. I think that’s so critical,” he said.

When asked about what else audiences can expect from the telecast, Kramer said, “All I will say right now is that our anniversary, the 95th Oscars, is extremely important to us. I think it sets a really interesting rhythm for our 100th. You see this in the museum, I think we are able to celebrate our legacy while bringing the Academy into the future and the show will reflect that.”

Executive producers and showrunners Glenn Weiss and Ricky Kirshner of White Cherry Entertainment will produce the Oscars, and Weiss returns, for the eighth consecutive year, as the show’s director. The 95th Academy Awards will take place on March 12, 2023, live from the Dolby Theatre at Ovation Hollywood. The ceremony will be televised live on ABC and in more than 200 territories worldwide

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Black Panther 2 Writer Addresses T’Challa CGI Recreation Possibility



Co-writer Joe Robert Cole addresses whether there was ever a possibility of a CGI recreation of T’Challa featuring in Black Panther: Wakanda Forever.

Black Panther: Wakanda Forever co-writer Joe Robert Cole addresses whether the film was ever going to feature a CGI recreation of Chadwick Boseman’s T’Challa. After the huge success of 2018’s Black Panther, director Ryan Coogler returned to helm the sequel, which chronicles the fallout from King T’Challa’s death and the emergence of a new global threat. The film has earned generally positive reviews from audiences and critics alike, with particular praise levied at Angela Bassett and Letitia Wright’s performances in addition to the film’s thoughtful handling of Boseman’s tragic passing. The MCU actor passed away in 2020 after a battle with cancer, with Coogler and Marvel opting not to recast the character for the sequel.


Since it was confirmed that Marvel was not going to recast T’Challa in the Black Panther sequel, some fans wondered if the character would be brought back in some form using CGI. In a recent interview with Rolling Stone, however, co-writer Cole reveals that digitally recreating T’Challa for Black Panther: Wakanda Forever was never even a possibility that was discussed behind the scenes. Check out Cole’s full comment below:

I don’t remember any conversations about that. No. I don’t think we were ever… I don’t think anyone felt that would be appropriate.

Why It’s Good Wakanda Forever Didn’t Bring T’Challa Back With CGI

A character in a white ceremonial costume carries the iconic Black Panther mask.

There’s a long history of late actors being brought back digitally for movies, including Oliver Reed in Gladiator, Paul Walker in Furious 7, and Harold Ramis in Ghostbusters: Afterlife. All of these actor recreations are handled in different ways under different circumstances, but in the Black Panther sequel, T’Challa’s death is woven into the very fabric of the movie. Black Panther: Wakanda Forever‘s story was substantially reworked after Boseman’s death and was essentially built and marketed around the premise that it would honor his legacy by honoring T’Challa’s within the world of the MCU. With T’Challa gone, Black Panther: Wakanda Forever focuses instead on how Shuri (Wright) and Ramonda (Bassett) process their grief.

If Black Panther: Wakanda Forever had brought T’Challa back through the use of CGI, it could have undermined the power of Shuri’s character arc as she takes up the mantle of Black Panther. The most logical place to feature a digital T’Challa would be when Shuri visits the Ancestral Plane upon ingesting the heart-shaped herb. The film instead features Shuri encountering Michael B. Jordan’s Killmonger, which speaks to the anger she feels and her lust for revenge. Shuri’s climactic moment as Black Panther in the film’s finale is choosing not to channel her grief into anger and revenge, but to seek peace with Namor (Tenoch Huerta) and fully embrace her feelings at the loss of her brother.

While bringing T’Challa back using CGI would have likely resulted in a brief moment of catharsis for audiences, a digital cameo may have taken away from Shuri’s arc, which honors Boseman and his character in more satisfying, long-lasting ways. By not recreating him digitally, the film also solidifies that he is truly gone, giving the character a true sense of finality. The sequel may not bring Boseman’s character back with CGI, but Black Panther: Wakanda Forever does introduce T’Challa’s son, Toussaint, which will hopefully allow the actor and the character to live on in a more uplifting and emotionally resonant way.

Source: Rolling Stone

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‘Dirty Dancing: Havana Nights’ Choreographer Testifies She Doesn’t Remember Dancer Alleging Harvey Weinstein Sexual Assault



Harvey Weinstein’s defense called on a choreographer from the 2004 film “Dirty Dancing: Havana Nights” to answer questions about a dancer from the movie, who is a witness testifying in the L.A. trial. The dancer has alleged that she was sexually assaulted by Weinstein during production on the musical film, which his company Miramax produced.

Choreographer JoAnn Jansen was subpoenaed by Weinstein’s defense team to take the stand on Monday afternoon. She was the main choreographer on the 2004 film, which was a reimagining of the original hit “Dirty Dancing,” and has worked on a total of four films for Weinstein.

Jansen said she has no recollection of ever meeting Ashley Matthau, who is an uncharged witness in the trial. Matthau had booked a small role as a dancer on the “Dirty Dancing” sequel. During her testimony, she alleged she was assaulted in 2003 when Weinstein masturbated on her in his hotel room in Puerto Rico. Matthau, who was 22-years-old at the time, said that Weinstein wanted to discuss “future projects” with her. She agreed to go to the hotel because his assistant was with him and assumed it would be a business meeting. When they got to his room, his assistant abandoned her.

Matthau told jurors that she confided in a choreographer and producer on set, but said that neither of them had offered any assistance. Matthau did not specify the name of that choreographer during her testimony, so it’s unclear if she was referring to Jansen or somebody else.

During Jansen’s testimony on Monday, she shared she had no awareness of Matthau working on the film whatsoever. The choreographer said there were 50-75 dancers hired and claimed to know all of them. When shown a photo of Matthau, she did not recognize her.

Jansen also told the defense that no women ever made any complaints about Weinstein during the production.

“Did any female dancer meet you to express any concern?” Weinstein’s attorney, Mark Werksman, asked. Jansen replied, “No.” She said she would have remembered if such a concern was reported to her.

Werksman also asked if any of the dancers on set were in “distress” about any meetings with Weinstein, and Jansen said, “No.”

When cross-examined by the prosecutor, deputy D.A. Marlene Martinez, Jansen said she would recognize every single dancer with whom she worked. “I know that sounds odd, but I did.”

The prosecutor then showed Jansen IMDb pages from “Dirty Dancing: Havana Nights” and Jansen said she recognized every person in the cast, aside from Matthau. “She was credited with being a dancer, but you don’t recognize her?” Jansen responded, “Nope.”

The prosecutor then proceeded to ask about another dancer on the film: Claudia Salinas, a model and influencer who testified earlier in the trial after being accused of helping Weinstein trap a woman in his hotel bathroom where she was allegedly assaulted. Salinas disputed any involvement in the alleged incident and denied any wrongdoing, but her name has emerged a handful of times during the trial as an alleged accomplice to Weinstein.

When asked about Salinas, Jansen immediately recognized the name. When questioned about Salinas’ relationship with Weinstein, Jansen appeared to be uneasy and replied, “I don’t know,” to the prosecutor. Jansen said she didn’t work with her and, with a laugh said, “I don’t know why, but I do know her.”

Jansen noted that Salinas was a “dance extra” and said she did not hire her. When Martinez asked if she interacted with any of the dance extras, Jansen said, “No, I’m not allowed to,” citing SAG rules that state she is only able to interact with principal dancers. Martinez then asked, “Would you know all the dance extras?” and Jansen said, “No.” Martinez suggested that Matthau might have been a dance extra.

Jansen — whose choreography credits include “Pirates of the Caribbean: The Curse of the Black Pearl,” “Uptown Girls,” “Shall We Dance” and two upcoming “Avatar” sequels — was the fourth witness called by the defense. Weinstein’s attorneys intend to call two more witnesses before resting their case this week.

Matthau’s attorney responded to Variety‘s request for comment on Monday evening, in response to Jansen’s testimony.

“A quick check of the credits for ‘Havana Nights’ reflects Ashley as a dancer in the movie, and she still receives residual checks to this day,” said attorney Elizabeth Fagen of the firm Fagen Scott, in an email to Variety. “If the defense argues she wasn’t there, they will be lying to the court and the jury.”

Closing arguments in Weinstein’s trial are expected to occur this week. The judge indicated that the case will likely be in the jury’s hands by end of the week.

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