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In ‘Equalizer 3,’ Denzel Washington’s Assassin Goes To Italy

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For years, director Antoine Fuqua has wanted to take The Equalizer abroad. The action franchise (loosely inspired by a 1980s television series) starring Denzel Washington as the reluctant assassin Robert McCall had humble origins in Boston. But, with two films and $382.7 million in box-office receipts in the previous decade, the moment looked right.

“Denzel is an international movie star,” Fuqua said, according to The Associated Press. “We thought seeing a man of color in a more international story would be nice.” Why not travel the world with this character? Fortunately, Sony liked the concept.”

And just one country was ever really considered: Italy. Fuqua said he has been going to Washington every summer since his children were babies. He adores the culture, the people, and the cuisine. He can even communicate in Italian.

“He just feels right there,” remarked Fuqua.

And for Fuqua, getting to shoot in Rome’s Cinecittà Studios and tread in the footsteps of Fellini and so many other greats was the stuff of filmmaking dreams. They discovered a truly 1970s New York grit in Naples, which required little to no production design for a critical showdown. And on the Amalfi coast, they discovered the lovely Atrani, the small village of their and McCall’s thoughts.

It’s the kind of location you’d think someone like McCall (or anyone) would feel immediately connected to and protective of, which is exactly what occurs in “Equaliser 3,” which opens in theatres nationwide on Friday. The difference is that McCall is more positioned to take on the Camorra. Of course, solely on my own.

“When we went to that small town, we knew it was the place,” Fuqua explained. “The people were so lovely; we were sitting around, and they kept bringing us coffee and espresso.” We didn’t even request it. Or, because it was so hot, huge lemons. You fall in love with the people in a place like that.”

washington

For years, director Antoine Fuqua has wanted to take The Equaliser abroad, starring Denzel Washington.

The steps were the only source of contention, which isn’t a complaint. One of Atrani’s gems is a medieval chapel set on the mountainside high above the beach, which they believed would be ideal for a key sequence involving McCall and Dakota Fanning’s CIA analyst. The only way to get there is to climb almost 700 steps. It wasn’t a comfortable journey with all the equipment needed to shoot a scene, but it served as a nice reminder of Fuqua’s and his cinematographer, three-time Oscar winner Robert Richardson,’s objective. They wanted to show a real location, not a vacation spot.

“It’s not a travelogue,” Fuqua pointed out. “The Mediterranean is beautiful, but it’s also real life for the people there.” Fishermen subsist on what they catch. They live in cramped quarters. Every day, they stroll up those steps.”

The film assembles a core team with decades of experience, including producers Todd Black and Jason Blumenthal. In addition to the “Equaliser” films, Fuqua directed Washington in “Training Day,” which earned him his first Academy Award for Best Supporting Actor and the latest adaptation of “The Magnificent Seven.”

Black has produced all of Washington’s films and several others. Washington introduced Black and Fuqua for the first “Equaliser,” which everyone anticipated would be a single film rather than a franchise.

“When you’re making a film, you can’t think about franchises or awards.” “If you’re making a movie to win an award, or even to be nominated for an award, or to have a franchise, you’re probably dead in the water going in,” Black remarked. “Not 100% of the time, but you shouldn’t think that way.”

Instead, they approached it script by script and “let the audience decide.” The audience appeared to enjoy seeing Washington as McCall more than once. Both the first and second films grossed more than $190 million apiece on production budgets of less than $65 million, and Sony was interested in a third. It also helped that Black and Fuqua had become friends, with the invaluable trust that comes with it. Both know that everything on their projects will be secure and managed, whether dealing with an unexpected fan situation for their star or ensuring that shooting in Naples at night is not too dangerous.

washington

For years, director Antoine Fuqua has wanted to take The Equaliser abroad,starring Denzel Washington.

“We’ve never had an incident at our movies because we are so vigilant,” added Black. “And Antoine really protects actors.”

Now, Black and Fuqua are in the rare position of having to be the principal voices advertising “Equaliser 3” in place of their movie stars, who, along with Hollywood writers, are on strike. While some films launched without a star’s late-night quips and red carpet appearances have struggled at the box office in the last month, Black is confident in “Equaliser 3.”

“I have other movies that will need my actors to promote them, but everyone knows Denzel Washington is the ‘Equaliser,'” Black explained. “We’re very confident, thanks to Antoine for creating such a beautiful film that works and audiences have embraced so far.” We’re in fantastic form.”

Both miss having Washington by their sides on the press trip. According to Black, the 68-year-old singer is much “mellower” today than he was years ago and is a pleasure to do publicity with. Fuqua also noted that McCall in “Equaliser 3” may reflect where Washington is in his life. Both are more calm and patient than the other.

“He’ll call me and Todd at 4 a.m. to look at the sunrise,” Fuqua explained. “Denzel wasn’t there before. It’s good to watch him slow down and appreciate life.”

SOURCE – (AP)

Kiara Grace is a staff writer at VORNews, a reputable online publication. Her writing focuses on technology trends, particularly in the realm of consumer electronics and software. With a keen eye for detail and a knack for breaking down complex topics.

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Blake Lively #Metoo Claims Supported By New Lawsuit

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Blake Lively’s claims that movie co-star launched smear campaign gets support in publicist’s suit -AP Photo

Blake Lively’s claims that director and co-star Justin Baldoni launched a smear campaign against her have been supported by a new lawsuit filed by Baldoni’s former publicist.

Stephanie Jones, who has been representing Baldoni since 2017, filed the case on Tuesday in New York State Court in Manhattan.

According to the report, the actor and his film production firm, Wayfarer, extended their deal in 2020, agreeing to a $25,000 monthly fee.

The lawsuit said that Baldoni, 40, and Wayfarer teamed up with publicists last August, when the film was released, to try to “bury” and “destroy” Lively, fearing that reports of misogynistic and toxic on-set behavior while filming the love drama would ruin his reputation and career.

Jones requested unspecified damages from the defendants, including Jennifer Abel, a former employee who she claims was behind the campaign to harm Blake Lively and tarnish Jones’ reputation.

The lawsuit claims that Abel was fired after Jones discovered on August 21, 2024, that Abel had “stolen more than 70 proprietary and sensitive business documents and additional client leads” from Jones Works as she prepared to leave the firm to start her own publicity company, with Baldoni and Wayfarer as clients.

The lawsuit also claims that Abel collaborated with Melissa Nathan, a crisis management professional who previously represented actor Johnny Depp, in an attempt to influence and control media information damaging to Blake Lively and Jones.

Numerous text conversations included in the case were recovered from Abel’s corporate phone, which she returned to Jones Works after being fired, the Associated Press reported.

In response to a request for comment on Wednesday, Abel forwarded an email with screenshots of text communications between herself and Jones, as well as a July 26 email she sent to Jones, two weeks after declaring her intention to leave the company on August 23, 2024, during a Zoom call.

In the email, she said, in part: “I know this journey will not be easy, but I wish to keep you in my life as a mentor, friend, and close confidant because I honestly consider you family and would be lost without your support.

I want to assure you that, unlike others who have burnt you in the past, there is no ill will here.

She said further: “I have left a company before with grace and with my relationships intact, and that’s what I fully plan on, and hope for.”

Blake Lively, 37, filed a complaint with the California Civil Rights Department last week, a step that frequently precedes the filing of a lawsuit, alleging that Baldoni sought to harm her reputation after Lively and her husband Ryan Reynolds addressed “repeated sexual harassment” by Baldoni and a film producer.

Bryan Freedman, an attorney for Baldoni, Wayfarer Studios, and its reps, described the charges in Lively’s filing as “completely false, outrageous, and intentionally salacious.”

He denied Blake Lively’s claims of a planned effort, stating that the studio “proactively” employed a crisis manager “due to the multiple demands and threats made by Ms. Lively during production.”

A message addressed to Freedman on Wednesday seeking comment on Jones’ lawsuit was not immediately returned.

“It Ends With Us,” an adaptation of Colleen Hoover’s popular 2016 novel, defied box office estimates with a $50 million launch and eventual sales of $350 million.

Baldoni appeared in the telenovela parody “Jane the Virgin,” directed “Five Feet Apart,” and penned “Man Enough,” a book that challenges traditional ideals of masculinity.

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Burt the Huge Croc in Crocodile Dundee Dies at Age 90

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Burt and Paul Hogan in Crocodile Dundee
Burt, the massive crocodile that rose to prominence with an appearance in the film "Crocodile Dundee"

Burt, the massive crocodile that rose to prominence with an appearance in the film “Crocodile Dundee” and continued to impress visitors with his fierce temper, died at the age of ninety. Staff at Darwin’s Crocosaurus Cove, where Burt had lived since 2008, confirmed his death.

The wildlife centre made a statement on Instagram: “It is with great regret that we announce the demise of Burt, the iconic saltwater crocodile and star of the Australian classic Crocodile Dundee.

“Burt passed away peacefully over the weekend, estimated to be over 90 years old, signaling the end of an incredible era,” American Crocodile News stated.

In the film, Mick Dundee (Hogan), wearing his now-famous Crocodile Dundee hat, leaves the Australian outback for the jungle of New York after meeting American reporter Sue Charlton (Kozlowski), who finally falls in love with him.

The crocodile is famously seen in the moment where Kozlowski’s character is assaulted while kneeling next to a creek.

Burt and Paul Hogan in Crocodile Dundee

Burt and Paul Hogan in Crocodile Dundee

Crocodile Dundee highest-grossing Australian picture

Crocasourus Cove described Burt, who was taken in the 1980s in the Northern Territory’s Reynolds River, as having a “bold” demeanor.

“Burt was a confirmed bachelor – an attitude he made clear during his earlier years at a crocodile farm,” the center said.

“His fiery temperament earned him the respect of his caretakers and visitors alike, as he embodied the raw and untamed spirit of the saltwater crocodile.”

“Burt was one of a kind.” He was more than simply a crocodile; he was a natural force, a reminder of the great creatures’ power and majesty.

“While his attitude may be tough, it was also what made him so unique and appreciated by those who worked with him and the thousands who came to see him over the years.

The statement ended with the following: “Visitors from around the globe marveled at his impressive size and commanding presence, especially at feeding time.”

Saltwater crocodiles can live for more than 70 years, especially in captivity.

Burt will be honored with a commemorative sign at the site, among some of the Crocodile Dundee 2 cast members.

Crocodile Dundee is the highest-grossing Australian picture of all time, earning $47,707,598 (Australian dollars).

It inspired two sequels, Crocodile Dundee II (1988) and Crocodile Dundee in Los Angeles (2001).

Hogan and Kozlowski married in 1990 and later divorced.

A documentary about the film’s production is anticipated to be released next year.

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Blake Lively Accuses Justin Baldoni of Sexual Harassment

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Blake Lively has launched a legal battle against Justin Baldoni

In an 80-page complaint, Blake Lively accuses Justin Baldoni of sexual harassment and launching a smear campaign against her after she declined his approaches.Baldoni’s lawyer Bryan Freedman has denied Lively’s allegations, calling them “false, outrageous.

Blake Lively has filed a lawsuit against Justin Baldoni, charging the actor-director of inappropriate behavior and defamation related to their 2024 film, It Ends With Us. What was once thought to be a public relations campaign to promote the picture turned out to be a complaint.

Lively accuses sexual harassment, including unwanted kissing and sexual comments, throughout the filming. She further claims that Baldoni tried to tarnish her reputation after she declined his approaches.

Baldoni and his production firm, Wayfarer Studios, deny any charges regarding Blake Lively’s nude images or accusations.

Lively’s complaint targets not only director Justin Baldoni, but also key officials in his production firm and people accused of spreading false information about her.

This includes the film’s principal producer, Jamey Heath, Wayfarer co-owner Steve Sarowitz, and a number of others. Baldoni’s lawyer, Bryan Freedman, angrily disputes Lively’s charges, calling them “false, outrageous, and intentionally salacious,” according to Entertainment Weekly.

Baldoni created a toxic workplace

According to Freedman, the actress even neglected to appear on site and made disturbances throughout filming, resulting in the picture’s dismal performance, including “threatening not to show up to set, threatening not to promote the film, ultimately leading to its demise during release.”

The Gossip Girl star’s complaint claims that Justin Baldoni, producer Jamey Heath, and Wayfarer Studios “created a toxic workplace, ignored harassment complaints, and failed to protect the cast and crew.”

The dossier also claims that Baldoni recruited a public relations agency to create a revenge campaign before potential allegations were public.

According to the complaint copy received by People, Baldoni included sexually graphic and naked sequences, including those for an underage character, without Blake Lively’s agreement.

This contained a lengthy “virginity loss scene and an orgasm scene” that did not appear in the original work.

Blake Lively Nude

Baldoni allegedly asked intrusive questions regarding Lively’s intimate sexual encounters with her spouse, including questions about Blake Lively nude images, which she considered invasive and refused to address.

According to the lawsuit, while filming, Baldoni improvised physical intimacy with no previous discussion or choreography. This contained kissing sequences and a slow dance sequence.

According to People, one instance detailed in the complaint states that Baldoni “discreetly bit and sucked on Ms. Lively’s lower lip during a scene in which he improvised numerous kisses on each take.” He eventually “insisted” on shooting “over and over again.”
intrusive behaviours

Baldoni and producer Jamey Heath “repeatedly entered Lively’s trailer uninvited while she was undressed or breastfeeding her child.”

Baldoni and Heath put pressure on Lively to imitate full nudity during a birth scene, despite the fact that there was no prior agreement in the screenplay or contract.

Producer Jamey Heath allegedly showed Lively and her assistant a disturbing video of his wife giving birth without their consent.

Degrading remarks

Baldoni allegedly criticized Lively’s age and weight after giving birth, even phoning her trainer to encourage her to lose weight quickly.

He “often” described ladies in the office as “sexy”. To address the hostile work environment, a list of 30 protections was implemented.
Smear Campaign.

Prior to the film’s release, Baldoni allegedly orchestrated a smear campaign against Lively, afraid she might come out about her experiences.

Lively believes that her legal action would “pull back the curtain on these sinister retaliatory tactics” and protect others who report mistreatment.

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