New Project: Sam Raimi’s Series “50 States of Fright”

Full Details: Sam Raimi’s Series “50 States of Fright” for Quibi Will Star Christina Ricci and Taissa Farmiga!

Executive produced by Sam Raimi, Quibi‘s upcoming horror series “50 States of Fright” is based on urban legends from different states, and we’ve got full details for ya today.

And yes, Raimi is directing one of the episodes!

From the press release…

Quibi and Gunpowder & Sky’s new horror brand, ALTER, along with DIGA Studios and POD 3 announced today that Rachel Brosnahan, Travis Fimmel, Christina Ricci, Jacob Batalon, Ming-Na Wen, Taissa Farmiga, Asa Butterfield, John Marshall Jones and Ron Livingston will each star in an episode of the upcoming horror anthology series, “50 States of Fright.” The first season of “50 States of Fright” will explore stories based on urban legends from Colorado, Florida, Iowa, Kansas, Michigan, Minnesota, Missouri, Oregon and Washington taking viewers deeper into the horrors that lurk just beneath the surface of our country.

Rachel Brosnahan (“The Marvelous Mrs. Maisel”), Travis Fimmel (“Vikings”, Warcraft: The Beginning) and John Marshall Jones (The Last Revolutionary, “Rectify”) are set to star in “The Golden Arm” based on a famous urban legend out of Michigan, co-written by Sam Raimi (Spider Man, Army of Darkness, The Evil Dead) and Ivan Raimi (Army of Darkness, Drag Me to Hell, Darkman) and directed by Sam Raimi.

Christina Ricci (“Monster,” “Z: The Beginning of Everything”) and Jacob Batalon (Spiderman: Homecoming, Spiderman: Far From Home) will play lead roles in “Red Rum,” which follows the storyline of Colorado’s scariest story.

Ming-Na Wen (“Agents of S.H.I.E.L.D,” “The Mandalorian”) is signed on to star in “America’s Largest Ball of Twine,” based on Kansas myth.

Taissa Farmiga (The Nun, “American Horror Story”) and Ron Livingston (“Loudermilk,” “A Million Little Things”) are set to co-star in “Almost There,” Iowa’s frightening folklore, which will be written and directed by Iowa natives Scott Beck & Bryan Woods (A Quiet Place, Haunt).

Asa Butterfield (“Sex Education”, “Hugo”) is cast as the male lead in “Grey Cloud Island” a chilling tale from Minnesota.

“The driving force for us as a studio is to foster the careers of emerging talent by marrying them with proven innovators,” said Van Toffler, CEO, Gunpowder & Sky. “With ‘50 States of Fright’ we sought out a diverse group of breakthrough performers and fearless horror visionaries and partnered them with Sam Raimi to oversee the creative process. This winning formula ensures we’ll get a s-load of scares.”

Source: Bloody Disgusting

Los Angeles Times: Scream queen Taissa Farmiga buys reanimated Traditional in Los Feliz

Scream queen Taissa Farmiga of the “American Horror Story” series has bought a house in Los Feliz for $1.375 million through a trust linked to her, public records show.

Although built in 1949, the two-story Traditional has been remodeled and refreshed to have a hip atmosphere that is decidedly fright-free. The nearly 1,400 square feet of white-walled living space features the original hardwood floors, built-in bookshelves and a working fireplace.

The kitchen contains an industrial sink, a pantry and an eat-at island. There are three bedrooms and two bathrooms, one with a claw-foot tub. French doors open to a deck with views of the Griffith Observatory.

Three tiers of garden have fruit trees, stone paths and a hot tub.

Farmiga, 24, worked on “Horror Story” from 2011 to 2018 and this year appears in “The Twilight Zone” episode “Not All Men.” Her film work includes “The Final Girls,” “6 Years” and “Anna.”

Alec Traub of Redfin was the listing agent. Graham Larson of Sotheby’s International Realty represented the trust.

Source: Los Angeles Times

uInterview | Exclusive Interview on “We Have Always Lived In The Castle”

Farmiga played the lead role in the We Have Always Lived in the Castle (2018), the film adaptation of Shirley Jackson’s novel starring Alexandra Daddario and Paula Malcomson. In May 2019, Farmiga sat down with uInterview to discuss the film. She described it as “a story about these two sisters, Constance and Merricat Blackwood, who live with their Uncle Julian in their family’s estate. Everyone else in their immediate family is dead, and these two sisters are shunned by the rest of the town, so they sort of have to create their own … little reality to live in. And everything’s going well until their cousin Charles comes to visit.”

Farmiga told uInterview exclusively that Merricat felt “threatened” by Charles and believed he had arrived “under the guise of trying to intervene and trying to change up what is good and right in their world.” To provide some backstory about Merricat’s character, Farmiga explained, “I adore her, but Merricat’s this little weirdo. She’s this little unusual young woman who sort of, at times, can be incredibly childlike and innocent, and then a minute later she could be infinitely aware and intelligent. She’s a contradiction; she’s uncomfortable in her own body, but all she wants to do is protect her sister.”

When asked about the filming process behind this movie, Farmiga had nothing but good things to report. She was especially happy to discuss the bonding that occurred between cast members on set. “We shot in the Wicklow Mountains,” Farmiga told uInterview, “and we were all just sort of holed up in this little castle, this little manor in the middle of Ireland, so we didn’t have anybody but each other. And when you’re playing kind of … a messed up family, you bond pretty quickly, you know what I mean? You have to have these connections.”

Farmiga gave glowing reviews of a few cast members in particular, namely Crispin Glover and Sebastian Stan. “Crispin Glover is obviously a legend and an incredible, incredible actor,” she said, “but he had such a distinct vision for [his character] Uncle Julian … When I heard he was cast, I was thrilled because I was like, ‘Oh, this is gonna be an interesting mind with an interesting take on the character, something I’m never gonna see before,’ and that’s absolutely true.” Farmiga explained how she tried to implement this originality into her own acting, citing Glover as a terrific professional role model.

Regarding Stan, Farmiga reported, “Sebastian’s a fun guy. He’s incredibly talented, just a joyous personality, loves to have fun.” She went on to say of the overall cast, “Genuinely, we all had fun. Everyone was there to play their very distinct character, and it was four very different personalities mixed in a scene, and the chemistry there was just fun to be a part of.”

The 24-year-old actress, who is also known for her role in FX’s American Horror Story: Murder House, explained to uInterview exclusively the premise of the film — which is based on Shirley Jackson’s 1962 mystery novel — and also described her character.

“We Have Always Lived In The Castle is a story about two sisters — Constance and Mary Kat Blackwood — who live with their uncle Julian in their family’s estate,” said Farmiga, who plays Mary Kat Blackwood. “Everyone else in their immediate family is dead and these two sisters are shunned by the rest of the town, so they sort of have to create their own little reality to live in, and everything’s going well until their cousin Charles comes to visit.”

Crispin Glover plays Farmiga’s uncle Julian in the film, while Alexandra Daddario plays her sister Constance and Sebastian Stan portrays her cousin Charles, who is trying to fundamentally alter the Blackwood sisters’ way of life.

“I adore her,” Farmiga said with a smile of her character. “Mary Kat is this little weirdo, she’s this little unusual young woman who at times can be incredibly child-like and innocent and then a minute later she can be infinitely aware and intelligent. She’s a contradiction: she’s uncomfortable in her own body but all she wants to do is protect her sister so she can play the role of the one who is confident [and who] takes charge when it’s necessary.”

Farmiga also explained how her character is endowed with magical powers to cast spells and incantations, and what she uses this ability for.

“[Mary Kat] has to be the most evil thing or has to have access to the most evil powers so that she can protect [Constance] from the things that are coming to attack [them],” she said. “Whether that means emotionally or physically.”

Directed by Stacie Passon, We Have Always Lived In The Castle set for released on May 17 and is currently garnering strong reviews.

Full interview transcript below:

Q: Who’s your character in the film?
A: We Have Always Live In A Castle is story about these two sisters, Constance and Mary Kat Blackwood, who live with their uncle Julian in their family’s estate. Everyone else in their immediate family is dead, and these two sisters are shunned by the rest of the town, so they sort of have to create their own little reality to live in. Everything’s going well until their cousin Charles comes to visit. Mary Kat is this…I adore her, but Mary Kat is this little weirdo. She’s this little unusual young woman who sort of, at times can be incredibly childlike and innocent. And then a minute later she could be infinitely aware and intelligent. She’s a contradiction. She’s uncomfortable in her own body, but all she wants to do is protect her sister, so she can play the role of the one who’s confident, the one who takes charge when it’s necessary. Mary Kat at the end of the day is just a young girl who wants to protect the thing that means the most to her and that’s her sister Constance.

Q: How does your character use magic?
A: Mary Kat doesn’t love many things in life. She loves her sister Constances, she loves her cat Jonas, and she loves her spells, and her incantations, and her little bits of magic that she uses. Mary Kat is scared of the outside world for a very good reason. Her family’s been shunned and has been ostracized by the town, and just made to be unhappy with who she is. Constance is the thing that means the most to her. In order to protect Constance, Mary Kat relies on her incantations and her spells. She has to be the most evil thing, or has to have access to the most evil powers, so that she can protect from the things that are coming to attack. Whether that means emotionally or physically, Mary Kat has a wild imagination. So, the way the wind blows, or the way that shadows are on the wall, it means something to her, and she takes that all to consideration. She has her spells just to protect her family at the end of the day.

Q: What’s your relationship with Sebastian Stan’s character?
A: Cousin Charles is played by Sebastian Stan and cousin Charles comes to visit the Blackwood sisters under the guise, or Mary Kat thinks under the guise, of trying to intervene, or trying to change up what is good and right in their world. Constance doesn’t like leading the house, Mary Kat’s the one who goes to town and provides for the family, she’s the protector. She sort of sees herself as the Lord of the Manor, well when cousin Charles comes, he takes on the actual role of man of the house, and Mary Kat feels very threatened by him.

Directed by Stacie Passon and based on Shirley Jackson’s novel of the same name, the film also stars Alexandra Daddario, Crispin Glover and Sebastian Stan and is about two sisters who are shunned by the rest of society for crimes they are accused of and live in an isolated home with their uncle until their cousin arrives with dark plans in store.

“It’s an incredible story with an incredible cast, so I was very excited just to get to Ireland, which is a beautiful country,” Farmiga revealed about the film’s shooting location. “We shot in the Wicklow Mountains, and we were all holed up in this little castle, this little manor in the middle of Ireland.”

“When you’re playing kind of like a messed up family, you bond pretty quickly,” she added.

Farmiga, the younger sister of Oscar-nominated actress Vera Farmiga, also said she had fun playing her character Mary Katherine Blackwood, as she is an eccentric girl who is often not very approachable. Farmiga recalled how intriguing and different it was for her to play out her scenes with Glover and Stan without truly making eye contact or “connecting” with them all the time.

“I had a blast just kind of giving them the cold shoulder and making them have to act with the side of my face, that was fun for me,” 25-year-old Farmiga said with a smile of acting opposite her co-stars.

Farmiga went on to praise Glover as an “acting legend” and raved about his “distinct vision” for his character Julian, who is the uncle of her character Mary Katherine.

The young actress also said she liked the fact that Passon was loyal to the book the movie is based on, and confessed she has read the novel multiple times.

“What I loved about the original novel is just the tone of it,” she said. “I loved the contradictions, I loved that it had this feeling of something being so twisted and foreboding, yet there’s almost this fairy-tale glaze over it.”

Farmiga cited a specific example from the book that reflects this feeling, saying how Daddario’s character, Mary Katherine’s sister Constance Blackwood, often delivers bad news but in an oddly happy way.

“It wasn’t something that just made sense, you had to go along for the ride,” she added of the story.

Full interview transcript below:

Q: What do you remember most about the shoot?
A: First off, it’s an incredible story with an incredible cast so I was very excited just to get to Ireland, which is a beautiful country and we shot in the Wick Low Mountains. We were all just sort of hole up in this little castle, this little manor, in the middle of Ireland, so we didn’t have anyone but each other. So, when you’re playing kind of a mess-up family, you bond pretty quickly, you have to have these connections. I don’t know if there’s a specific moment where I was like “oh wow, I’m never going to forget this,” but just the experience overall, playing someone who didn’t have any respect for anybody. So, when I’m doing scenes with Sebastian Stan or even Crispin Glover, I don’t look at them in the eye. I don’t talk to them, like I talk to them, but I don’t talk to them. When you have a conversation with someone, you give the time of day, Mary Kat doesn’t do that, so I had a blast kind of just giving them the cold shoulder and making them have to act at the side of my face, that was fun for me.

Q: What was it like working with Crispin and Sebastian?
A: I think everyone was super passionate about the project before we started filming, so when
you work with people who care so much, like Crispin Glover is obviously a legend and an
incredible, incredible actor, but he has such as distinct vision for Uncle Julian. I knew before I
got there, when I heard he was cast, I was thrilled because I was like “oh, this is going to be an
interesting mind with an interesting take on the character, something I’m never going to see
before” and that’s absolutely true. I love that Stacey, the director, always went back to the
book, and that was something Crispin loved. He always had the book with him, when we were
about to film a scene and something didn’t fit right with him, he’s like “I don’t think this…this
doesn’t make sense for Uncle Julian.” I loved how assertive he was and the fact that he took
ownership over the character. He knew Uncle Julian better than anybody, and that’s something
I kind of admired. I feel like I did the same thing with Mary Kat, but when you see someone
who’s older than you and more experience, they paid the way and they tell you tell you it’s
okay, you know better, you know the character you’re taking, you know the character better
than anyone so you don’t have to rely on other people’s opinions if you disagree.
Sebastian’s a fun guy. He’s incredibly talented, just a joyous personality, loves to have fun. It’s
hard to say, you talk about somebody and say just “Oh okay, everyone’s so great, everyone’s so
great,” but genuinely, we all had fun. Everyone was there to play their very distinct character
and it was four very different personalities mixed in a scene, and the chemistry there was just
fun to be a part of.

Q: How much did you rely on the book?
A: I read the script first, and then I went back and I read the book. I read the book multiple times since then. What I loved about the original novel, for me, it was just the tone of it. I love the contradictions. I loved that it had this feeling of something being so twisted and foreboding, yet there’s almost this fairytale glaze over it. I think the best example of that is Alex Daddario when she’s telling you, when Constance is telling you bad news and she’s just telling you it’s fine, everything’s fine, and she’s smiling at you. I love those contradictions, I love the contradictions of Mary Kat, who’s this old soul and this young mind. And for me, it was a mix of the tone and the story to be told that it wasn’t something that just made sense. You had to go along for the ride.

Source: uInterview 1 | 2 | 3

Collider: Taissa Farmiga Interview about “We Have Always Lived In The Castle”

Taissa Farmiga on ‘We Have Always Lived in the Castle’ & ‘The Twilight Zone’

From director Stacie Passon and adapted from the book of the same name by Shirley Jackson, the indie drama We Have Always Lived in the Castle tells the story of two sisters, Merricat (Taissa Farmiga) and Constance (Alexandra Daddario), who have isolated themselves after a family tragedy, in their large manor with their Uncle Julian (Crispin Glover). When Cousin Charles (Sebastian Stan) unexpectedly arrives, he disrupts their idyllic existence and threatens their family legacy.

During this 1-on-1 phone interview with Collider, actress Taissa Farmiga talked about why she wanted to tell the story of We Have Always Lived in the Castle, what made Merricat such an interesting character, playing someone who internalizes so much, the sister dynamic, and shooting the family scenes. She also talked about her episode of the CBS All Access series The Twilight Zone, called “Not All Men,” what attracts her to a project, and how excited she is to have a wide-open future.

Collider: This is such an interesting character, in such an interesting story. What was it like to explore someone like her?
TAISSA FARMIGA: I got the offer, I read the script, and I loved the tone of the script. That was the first thing that I fell in love with. It has this weird unease and tension, coded in a fairy tale glaze. I liked the contradiction. And then, with Merricat, at moments, there was a contradiction where she feels like she’s almost childlike and fragile, and then a moment later, she seems infinitely wise and an old soul. I loved that. My favorite part of it was getting to play someone who’s just so much of everything.

Even with her clothes and her hair.
FARMIGA: For sure. I feel like she’s very much aware. She’s so internal, and yet she wears who she is on her sleeve. With the tight braids and everything pulled back, and the darker colors in the clothes, it shows here closed off-ness and that tension that she has inside her. But it’s so different from who she is when she’s with Constance. It’s interesting.

Had you just read the script when you got this? Had you read the book, or did you go into this cold?
FARMIGA: When I read the script, I had not read the book, so this was the first I had any contact with the story. So, I read the script, and then I immediately had a Skype session with the director (Stacie Passon), four hours later. Because it was moving quick, I didn’t have a chance to read the book before I talked to the director, but Stacie and I had a great conversation, and we really connected over Merricat. I immediately went to the store, bought the book, and read it, three or four times before we started filming. There’s just so much more insight in the book, being able to have that inner dialogue and monologue that Merricat has with herself. I really got to understand her better. I felt so privileged and so lucky to be able to have such a cool story, and to be able to have a little cheat sheet into who Merricat is because Shirley Jackson already did all of the work, in expressing her and figuring her out.

Because this does seem like a character that would be pretty hard to figure out otherwise, what did you learn about Merricat from the book?
FARMIGA: It’s interesting because she’s an 18-year-old girl, but it’s like she was emotionally stunted at 12. She’s uncomfortable in her body. Really, what I took to heart from the book was reading her thoughts about Uncle Julian, reading her thoughts about Constance, and reading the way she talks about different people. The only person that she ever really talks positively about, or in a lighthearted way, at all, is Constance. It just really verified the depth of the relationship, and how Merricat doesn’t really love very many things in life. She’s doesn’t really care about very many things, except for Constance, her cat Jonas, and her magic spells and incantations.

What did you grow to appreciate about Merricat, by the time you got to the end of the shoot? Were there things that you hadn’t realized about her, until you got to the end of the experience?
FARMIGA: That’s interesting. I’m sure there were. It’s hard because we filmed this almost three years ago, and I’ve been six different people, since I played Merricat. One thing that I thought was really interesting was that, over the course of the movie, even though she’s so internal and keeps everything inside, you can see her resentment for Charles. You see all of her feelings, but I feel like her actual, true feelings are something that she keeps so locked deep inside. When I had to do the EPK interview for the behind the scenes for the movie while we were filming, I kept pushing it. I wanted to do it towards the end of the film, and when I sat down to talk about Merricat, I couldn’t talk about her because I was her, and she didn’t open up. She didn’t communicate. She didn’t tell people about her. She didn’t show herself like that. I was like, “What the hell is wrong with me?! I know how to talk about this character. I know this character. Why can’t I talk about her?” It’s because Merricat didn’t want me to talk about Merricat. It was wild. Now that’s it been some years in between and I’ve had some distance from the project, I’m able to see her in a different light. She made sense. She clicked. Stacie and I had such a shorthand about the character. I don’t think I’ve ever connected with the director so intensely, on a specific character before. Stacie would just give me a look, and I knew exactly what she wanted, or she’d say keywords and I’d be like, “Okay, right. You want this version of Merricat.” We just meshed, and it was what it was, for those six weeks.

Do you think that, if she were a different kind of person who could figure out to verbalize what she’s going through, that she would have just blown up at Charles, at some point along the way?
FARMIGA: You know, probably. It’s hard because, if you look at both characters – and I’m talking about the sisters, Constance and Merricat – they both have a very skewed perspective on the world. In Constance’s case, she tries to see everything from the positive side. Everything is, “We can handle it. Everything’s fine.” And then, there’s Merricat, who’s the exact opposite. If you think about it, these two sisters are in a very intimate relationship. It’s sisterly, but there’s still an intimacy that not very many siblings have. They don’t have anybody else, in the entire world. So, Merricat goes to that darker place. She’s trying to find balance. Maybe if she was able to vocalize her thoughts a bit more, things could have turned out differently, but because they had to rely on each other, they really relied on non-verbal communication. That’s why things go awry, the way they do.

Some of the most exciting moments to watch in this were the ones when you’re all in a scene together and you’re talking about different things, at the same time. What were those scenes like to shoot?
FARMIGA: It was a lot of fun, especially for me, because Merricat doesn’t respect anybody but Constance, so whenever I’m talking, I don’t really ever even acknowledge Uncle Julian. I’ll talk about him, but I never acknowledge him to his face. And whenever I’m talking to Cousin Charles, I didn’t look at him or even really make eye contact. She doesn’t really give them the time of day. That was hard, but it was also fun to just ignore people. The fun part is filming that in the wide because everyone can talk. The worst part is when you’re just in coverage and you’re not allowed to talk over other people lines. You have to sit there and just mouth what you’re doing.

What was that dynamic like, as actors? Did you guys just have a lot of fun with each other?
FARMIGA: Absolutely! I feel like everybody was down to play. Everyone wanted to stick as close to the authenticity of the original story as possible. For the sake of the character, you can’t fully do that in a movie because you have to put a little bit more pizzazz, and you want the audience to feel something, at the end of those two hours, so you really have to hit it home, whereas in the book, it can simmer a little more. When we were all in the room, we had so much fun. It scared me because we were playing four very distinct and different people, and when you put those four people in a room, you don’t know what the chemistry will be like, but I had a blast. It’s nice when everybody’s game and everyone is down to do what has to be done to make this wacky movie.

You’ve said previously that this is the character that’s the furthest from you that you have played. Which character has been the closest to who you are?
FARMIGA: Interesting. I just filmed Jordan Peele’s The Twilight Zone, and the character that I play in that is the one that’s been closest to my age. It’s so hard to say because it’s probably different at different times and moments in my life. I feel like, at this age, probably that character, Annie, from The Twilight Zone is pretty close to who I am, but in the past, I don’t know. It’s hard because I’ve changed so much, in the last year. I’ve gone through some personal stuff and some health stuff, and I’ve grown so much. When I watch the movies and TV shows, I see myself as those people, in a way, so looking back, I feel like I’m close to all of them. But in the moment, some of them felt like such a giant leap.

I absolutely love what has been done with this version of The Twilight Zone. I’ve been having such a great time watching it.
FARMIGA: Oh, amazing!

How did you come to the show, and how did you find the experience of working on that?
FARMIGA: For me, it was just a straight offer. They sent the script over and it said The Twilight Zone, and Jordan Peele’s name was the next thing that I saw. I was very excited to read it because it was mixing Jordan Peele with The Twilight Zone, which are two entities that take such a stance on social issues and start conversations. I read 15 pages and was like, “Oh, shit, I’m down!” And then, two days later, I was in Vancouver and we were starting to do prep. And then, two days after that, we started filming. I didn’t have very much time to think about it. I was just excited that they picked me. I don’t know how they picked me, but I was excited that they did.

What did you most respond to, with your episode and character?
FARMIGA: I liked the content. I liked the story. I liked the conversation that it will spark about gender norms and society. Maybe this episode focuses a little more on men, but society has such a clear distinct idea for what a woman’s role is and what a man’s role is, the way we’re supposed to act, and how we, as humans, give people permission to act indecently. We can’t just let something go by. You have to speak up and say, “This is not right.” Sometimes you have to stop your own actions, and sometimes you have to stop someone else’s actions, and I thought that was an important conversation. I also really loved the character and the story. There’s another sister relationship in there that I really liked, that I played with my co-star, Rhea Seehorn.

At this point in your life and career, what gets you interested in a project? The more scripts that you read, does it get easier to figure out what you connect to and what could work for you?
FARMIGA: Honestly, I don’t know if it’s gotten easier. When I read something and feel like, “Oh, god, I need to be a part of this,” then I want to do it. I’ve worked with so many incredible people. The names, like Jordan Peele, are important, but that’s the icing on top. That makes it extra special. What I really love is the story and the character. I want to completely get the character and be like, “Oh, my gosh, I can have fun with this.” In the case of Merricat, I was like, “I don’t fully understand her just yet, but I feel like I could, and I really want to.”

Do you know then what you are going to do next?
FARMIGA: Well, I’m super excited bout The Twilight Zone episode. And then, [We Have Always Lived in the Castle] comes out on the 17th of May. Other than that, everything that I’ve done, in the last year, has come out. I have a wide-open future, and I’m really excited. I just know that I wanna keep growing. I’m almost 25, and every character that I’ve played has helped me define parts of my personality. I feel like I’ve been really lucky to be able to have acting as an outlet to discover myself. I feel very comfortable with who I am, and being 24, almost 25, it’s nice to be able say that. So, I just hope that I get to keep playing characters that selfishly help me discover who I am, and continue to grow.

We Have Always Lived in the Castle is in theaters and on VOD on May 17th.

Source: Collider

Universal Nabs Jason Mantzoukas Movie ‘The Long Dumb Road’

A limited theatrical release is planned as is a wider home entertainment play for Hannah Fidell’s indie pic, which also stars Tony Revolori and Taissa Farmiga.
Universal Studios’ home entertainment arm has closed a deal for North American rights to the Sundance road-trip movie The Long Dumb Road, The Hollywood Reporter has confirmed.

A limited theatrical release is planned alongside a wider home entertainment play by the Universal Pictures Home Entertainment Content Group for the rollout of the Jason Mantzoukas and Tony Revolori starrer.

The Hannah Fidell-directed movie pairs Revolori and Mantzoukas as two mismatched guys coming together for an unplanned road trip across the American Southwest. The cast also includes Taissa Farmiga, Pamela Reed and Grace Gummer.

Jacqueline E. Ingram, Fidell, Kelly Williams and Jonathan Duffy produced The Long Dumb Road, with Mynette Louie and Alicia Van Couvering executive producing.

UTA handled the sales deal with the Universal Pictures Home Entertainment Content Group.

Source: The Hollywood Reporter

AnOther: Taissa Farmiga on Female Empowerment and Fashion

Alongside exclusive imagery from AnOther Magazine S/S17, Jack Sunnucks speaks to the young actress about her hopes for the future, and why she’d like to give everyone in the world a big hug.

In celebration of the new generation of actresses determined to leverage their fame for the greater good, Ben Toms and Robbie Spencer’s fashion story, published in AnOther Magazine S/S17, featured young women from Rowan Blanchard to India Menuez; Sophie Kennedy Clark to Maddie Ziegler. Writer Jack Sunnucks spoke to each of these women on set, for a series of interviews running over two weeks exclusively on
Taissa Farmiga got her start in Higher Ground, a 2011 film directed by her sister, the actor and director Vera Farmiga. It was in American Horror Story, however, that she came to wider attention. Series one, Murder House, filmed that same year, saw her terrorised and romanced by a ghost, while Coven featured Farmiga in an array of stylish hats as a teen witch who kills men accidentally when she has sex with them. With her otherworldly looks and voice, Farmiga seems the perfect actress for the kind of curious, haunted roles she’s given. Her next act is to star in an adaptation of Shirley Jackson’s cult novel, We Have Always Lived in the Castle.

Jack Sunnucks: What do you think fashion can do to make women feel empowered?
Taissa Farmiga: I think that, before you walk out the door and into the world, you have to feel good. You have to figure out who you are, and I think fashion can help you do that. When you have more of a sense of who you are, you can take on the world.

JS: What do you hope for 2017?
TF: Ah, 2017! I hope that we all try to do a little better than we did last time. I hope everyone tries to help someone else. If we all tried to help someone else, the world would be a better place. I know it sounds… I don’t know how it sounds. But I know if we just cared about one person for a moment instead of ourselves, it would really help.

JS: If you could say one thing to the world what would it be?
TF: Oh man. I wish I could just send everyone a hug. Everyone who needs a hug. Sometimes I need a hug and there’s no one around, and that feeling really sucks.

“When you have more of a sense of who you are, you can take on the world” – Taissa Farmiga

JS: Have you ever got to play someone really evil?
TF: Never! One day I’ll have to. It’s funny, when I used to play videogames with my brother, I’d always want to be the good guy.

JS: Who’s your favourite on-screen heroine?
TF: I’ve seen a lot of Amy Adams recently and I just love her. I love the energy she puts out in person and on screen. She’s smart and she’s classy and that’s something to aspire to be. I like a woman who’s smart and doesn’t have to prove anything.

JS: Do you ever get frightened watching horror films?
TF: Absolutely. I’m an absolute baby when it comes to that stuff. Even reading the American Horror Story scripts when I was in New Orleans, which is a spooky city, and I was in my trailer all alone. Sometimes I’d freak out before we’d even shoot it because I’d be playing the movie in my head. I guess it helps, because if you’re in a horror show you’ve got to feel the fear!
Hair Marki Shkreli for Marki Hair Care; Make-up Samuel Paul at Forward Artists for Marc Jacobs Beauty; Set design Bryn Bowen at Streeters; Photographic assistants Vincent Perini, Geordy Pearson and Kaleb Marshall; Styling assistants Louise Ford, Johanna Burmester-Andersson, Bonnie Macleod and Sabrina Terlink; Hair assistant Kelly Oliphant.

Source: AnOther Mag

Farmiga and Ben Rosenfield Talk ‘6 Years’, Future Projects & More

Taissa Farmiga and Ben Rosenfield Talk ‘6 Years’, Future Projects, and More

From writer/director Hannah Fidell, the romantic drama 6 Years follows Dan (Ben Rosenfield) and Melanie (Taissa Farmiga), a young couple in their early 20s that have known each other since childhood. They are both at a point in their lives where their 6-year romantic relationship is being put to the test, and Dan must decide whether to accept an attractive job offer that could mean the end of his future with Mel.

During this exclusive interview with Collider, co-stars Taissa Farmiga and Ben Rosenfield (who both give emotionally honest and compelling performances in the film) talked about why this project appealed to them, the very collaborative process of making it, being able to relate to and understand their characters, how emotionally and physically exhausting some of the scenes were, and what they look for in a project, at this point in their careers. Rosenfield also talked about why he wanted to sign on for Dustin Guy Defa’s Human People and what led him to record an album, while Farmiga talked about her new ABC TV series Wicked City, the upcoming feature The Final Girls, and the experience of being directed by Warren Beatty.

Collider: Did you know just how collaborative this entire process would be?

TAISSA FARMIGA (Writer/director) Hannah [Fidell] and (executive producer) Mark [Duplass] were very up front about what their vision was and what they planned to do with this movie. I was sent the [scriptment] and read it. I saw Hannah’s movie, A Teacher, and I got to see what she could do, as a director, and I loved it. And then, I sat down on Skype with Hannah and Mark Duplass, and talked about the part and talked about being young and talked about how they wanted to improv it. That was something I wanted to challenge myself with. It was a good conversation and I wanted to do it so badly that they could see that and offered me the opportunity.

BEN ROSENFIELD: I had a similar Skype chat with them, and they laid it out. They explained what they wanted from the story, but also the process that we’d all be living in houses together in Austin and made it sound like artistic summer camp, so I was in.

At any point along the way, did you have a moment where you wondered what you’d gotten yourself into?

FARMIGA: No. There were times when it was very emotionally and physically exhausting to play some of those scenes, but it still felt good. It still felt like we were making something special. You try not to get too excited on set. You do the best you can while you’re making you’re movie, but you don’t want to get your hopes up too high ‘cause you never know how it’s gonna turn out, but it felt good. Something just felt right about it.

ROSENFIELD: I had an amazing time making this film. I felt particularly lucky because it was so different from any other experience I’ve had, and that’s the most you can ask for, as an actor and as a person.

What was it about this project and these characters that made you both so passionate about telling this story?

FARMIGA: Being young and 20 and emotionally unstable, I understand because I just turned 21. Usually you see much older people playing high school or young college. With this, you get to see kids the actual age portraying these characters and what they’re feeling. It’s just relatable.

ROSENFIELD: When I read the scriptment, which was sort of a script and sort of a picture book and outline, I was just blown away by it. It felt very real. Hannah tapped into something that’s hard to tap into. Also, the fact that they were willing to go with younger actors was great. With a lot of relationship movies, they cast people that are closer to 30 to play people in their early 20s. I was excited that they were casting people the age of the people that they were going to play.

FARMIGA: I thought it was such a great opportunity. What I didn’t realize, at the beginning, was how much I learned about myself, getting to play Mel. I had to deal with her frustrations, in learning how to communicate, and that helped me in my own life.

Clearly, Mel doesn’t always understand how to communicate her feelings to Dan, which causes her to lash out physically, more than once.

FARMIGA: Communication feels like it should be the simplest thing, but it’s not. Sometimes you don’t even understand what you’re feeling. You don’t know how to put that into words, so how are you suppose to tell the person you love that you’re upset.

ROSENFIELD: It’s a really interesting dynamic. From what I understand, people are not talking about this as a domestic abuse movie, which it’s not only. But if I had done all those exact same things to her, that is what the movie would be about. It’s a fascinating aspect of the story.

FARMIGA: There was no judgement on my part. I disagreed with her. I didn’t think she should be beating up on Dan, but I could understand where it was coming from. The actual outcome isn’t how I would have handled it, but I understand what it’s like to be so frustrated that you can’t verbally say what you want to say and you can’t express yourself. We all get frustrated and we all get angry, especially being so young. We’re happy so quickly, we’re mad so quickly, and everything is just flowing so fast.

ROSENFIELD: And I really appreciate the way Hannah handled those scenes. Rather than making them incredibly violent, they’re in a grey area.

FARMIGA: It felt so truthful because there are so many young couples like that. It is a grey area because what’s one push? What’s one shove? You say, “I’m sorry, I didn’t mean that,” but then you do it again. Hannah just wanted to show it as it is.

ROSENFIELD: I think a lot of people have been in those situations, where there’s a little bit of a physical thing going on, or you’ve seen it, especially when you’re young. You’re still a kid and you connect to that rough-housing stage of your life.

Was it difficult for you guys to spend time bonding before the shoot, and get to know and like each other, and then have to play out the more intense and unpleasant parts of this relationship?

FARMIGA: It’s great that we have a connection and that we like each other, as people. There’s just a trust there, and it’s easier to get to a darker place, if you can handle the easier scenes together and the happiness.

ROSENFIELD: The whole thing was great. I didn’t feel like we had to be angry at each other, all the time, even off camera.

FARMIGA: We left it on set. Afterwards, we were buddy-buddy.

These two were together for six years, by the time that we meet them, which is a long time for any couple to be together, let alone one that’s still so young. Do you think they were happy for most of that time?

FARMIGA: When you see them in the beginning, and you see that montage of them in the summer, just hanging out with friends, you see that there’s a history there and that they obviously must have been happy.

ROSENFIELD: It’s first love, but because they haven’t broken up yet, there’s something really pure about it and really naive about it. I think it was an incredibly good relationship that they learned a lot from. You want that stability, but you’re not ready for that responsibility of being in a relationship.

Do you think that these two had been having trouble before it became more obvious?

ROSENFIELD: From Dan’s perspective, it probably started to end a little bit before we got there. I never went to college, so I don’t know exactly, but I can imagine that when you’re at that time in your life where you’re starting to get to the end of that and you’re starting to think about the future, that’s usually when those kinds of thoughts start to happen, in terms of a relationship.

FARMIGA: When you’re young, you have to be open to being a little selfish. Selfish sounds like a bad thing, but when you’re trying to figure out who you are, you have to make decisions that are best for you, so that in the end, it’s better for whoever your partner is, in life. You have to figure yourself out before you can figure out how to be with someone else. They’re figuring out their own selves. Who knows what happens in the future, but it’s okay to take that time for yourself.

What do you guys look for in a project, at this point in your careers?

ROSENFIELD: It’s definitely hard. I look for really great scripts. That’s the most important thing to me, that the words are going to be there, or that it’s a great story. And then, if it’s a film, the director is huge. I could care less about who the other actors are.

FARMIGA: You get sent a lot of material and have to sort through a lot of scripts, and I think you should listen to your gut. You should go out for auditions that you really want, and you should put your effort into the things you want to pursue. That can be hard sometimes, if nothing feels exciting. Sometimes I read a script and I’m on the fence, but then I meet the director and I’m like, “Oh, my god, my mind is completely changed. I have to do this movie with you.” I think you have to just be open to it and go with your gut. I’ve been so lucky because all of the TV I’ve gotten to do has been one year at a time. I did Season 1 of American Horror Story. The next year, I shot four movies. I did Season 3 of American Horror Story. I shot four movies last year. This year, I’m doing another TV show, called Wicked City for ABC, that I have a one-year contract on. It’s another anthology series. If you can find a way to do both, it’s great.

ROSENFIELD: And TV is where a lot of the best writing is, these days. You can get to work with great writing, and you actually can get paid really well, too. That’s really remarkable, and that blew my mind.

FARMIGA: It’s nice to have a steady job for a few months, be able to go shoot some indie movies that you really, really love, and say no to some things that you don’t. To be able to have the freedom to do that is nice.

Are you guys working on anything now?

FARMIGA: I just started shooting that TV show, Wicked City. It’s this L.A. noir detective story set in the early ‘80s. That’s taking me through the end of the year, and I’m excited to stay in one place for a couple of months.

ROSENFIELD: I just finished recording an album, so I’m going into post-production on that. And then, I’m shooting a film in October called Human People, that’s being directed by this guy, Dustin Guy Defa, who’s a really talented filmmaker.

What is Human People about and who are you playing in it?

ROSENFIELD: I play this New York City street kid. It’s vignettes, and the stories connect but the characters don’t necessarily that the stories are colliding. It’s one of the best scripts I’ve read, ever. I’m really, really excited to make the film. This guy has a great short film that you can see on The New Yorker’s YouTube channel, called Person to Person, which is worth checking out.

Why did you decide to record an album?

ROSENFIELD: I’ve been writing music for a very long time. I had a lot of songs built up that I had to get rid of to write new ones. Being an actor these days is tough, but the music industry is a rough scene. I’m glad I don’t have to live off of that. I make my money off of acting, so I can just make the music for the music. You have to be willing to be a live performer, if you want to make money as an independent. For me, at this point in my life, I don’t particularly love live performance of my music. I love writing and recording, but you can’t make money off of that. The expectation now is that you have to be able to do both.

Taissa, the trailer for The Final Girls was so awesome and original. Did you immediately get what that movie was going for when you read the script?

FARMIGA: That was one of those times where I read the script and was a little on the fence. I got what it was trying to do, but I sat down with the director, Todd Strauss-Schulson. I had an hour-long conversation with him and picked up his vibe, and thought he was just weird enough to make the movie what it needed to be. I met him and completely trusted him, and wanted to go after it and try my hardest to get it. It ended up working out, and I love how it turned out. It’s a horror comedy. It’s funny and scary, and it plays on all the tropes from bad ‘80s horror movies, but it also has a heart to it. I love that it still stems from a real place. With everything else going on around it, there’s still that main story of a girl dealing with the loss of her mother, and then getting to interact with her. These kids get sucked into the movie, so my character gets to interact with her mom, who’s been dead for two years, but it’s in a scenario that’s not her mom. It’s cool. The movie is a good time. That’s what I love about it. You go in and have a great time, and you feel good coming out of it.

You also recently worked on a movie that Warren Beatty wrote and directed. What was that like?

FARMIGA: That was an experience. When I first met him, I texted my sister (Vera Farmiga) and said, “Who’s Warren Beatty?” I knew he was an actor, but I didn’t grow up watching a lot of movies, so I didn’t watch any of his. I only shot a couple of days on his movie. Honestly, I haven’t even read the full script. To me, it’s just as exciting and a mystery as it is to everyone else. I got to shake Warren Beatty’s hand a couple of times.

What was he like, as a director, especially with his history and understanding of acting?

FARMIGA: The first director I ever worked with was my older sister, Vera, and I think there’s something special about a director who’s been an actor because they know how to relate to the questions you’re asking, unlike technical directors that want to have a cool shot but don’t know how to explain to you. So, working with Warren Beatty was exceptional. It was so cool because we did four takes and he was like, “All right, we’ve got it. Let’s go again.” Ed Harris played my dad in a scene and the same thing happened. We did three takes and Warren Beatty was like, “All right, we’ve got it, so do whatever you want to do.” We did six more takes, and you could just see it going to a place I never thought it would. Once you know you’ve got the take, the weight is lifted off of your shoulders and you can just completely go with it. It was great to just have the experience of being able to let go and try something new.

When you have an experience, like with 6 Years, where it’s much more collaborative and you have much more of a say, does that change you, as an actor?

FARMIGA: Absolutely! I grew so much on 6 Years, as a person and as an actress. You film a movie and you don’t get to see it until about a year later. When you watch it, you just know that you were a different person then than you are now, and you know that you’ve grown. It’s nice to know that you can take those experiences and learn from them, and incorporate them into the next one. With the preparation work that I learned to do on 6 Years, like really developing a backstory and that kind of stuff, I took the aspects that worked for that and brought it to my next project. That’s all you can do.

ROSENFIELD: There’s a spontaneity in an improvisational setting. Getting to make a full feature like that definitely gave me a lot of that technique, and I’d like to try to bring that to more scripted situations. That definitely helped improve that side of me, as an actor.

6 Years is available now at iTunes, Amazon Video and VOD, and on Netflix on September 8th.

Source: Collider