Everything You Need To Know About M. Night Shyamalan's "Servant"

Photo credit: Apple

M. Night Shyamalan is no stranger to Comic Cons. His first time attending one was for the tenth anniversary of "Unbreakable" and ever since, he has made several appearances at them to promote his various works. "We really embraced it. Whenever I do a film it's 'How do we show something at Comic Con?' It's always on my mind now. The irony of the Unbreakable story is, when I made Unbreakable I was like, 'Oh, I'm gonna make this movie about comic books.' The company that I made it for said, 'Well that's not a viable thing to do. That's just a small group of nerdy people.' This is literally a conversation [that happened]. 'So let's not say that there's anything to do with comic books when we sell the movie because it's so niche. No one's gonna see a movie about comic books heroes.' That was Disney."

The tides have turned significantly since then, as Disney now is the corporate overlord of the film industry and dominates the box office charts due in large part to their massive churn-out of superhero films. Shyamalan expresses an interest in genre material that dates back to his childhood, though he had to ensure that he didn't bring anything too graphic home since it would upset his conservative Indian parents. Even now as an adult, he will find himself shying away from including nudity in some of his films because he imagines how his mother would react to it.

Shyamalan has often been a misunderstood creator. The over-simplistic perception is that his works too often rely on plot twists or that they have a propensity for being esoteric. In actuality, he puts tremendous thought into creating works that respect the audience that will eventually consume it. "It's a big, big deal to me. Some of the things we're going to talk about [are] value systems, about story-telling, and what I've been able to use my position to do. I use it to leverage as much as I can to make sure that I am doing things that at least in my opinion are of the highest quality so that those individuals, there's an understanding that they're really getting something from me specifically and that I'm willing to take risks and I'm not chasing you. I'm respecting you guys. The big thing I say to the studios [is] 'The audience's EQ, their emotional intelligence, is off the charts. They're all together  and it's off the charts. They can feel that authenticity in a performance. They can feel it and that will translate to commerce on their sides so please trust me on that. You don't need to talk down to them.' I have that conversation all the time."

Shyamalan has previously forayed into television with his work on the FOX series "Wayward Pines" but is now set to return to it in an entirely way with the Apple TV+ series "Servant" (which he later reveals on this New York Comic Con panel will premiere on Thanksgiving, November 28).

"I've avoided this format. The great thing about the format is that it's a character-driven format. You come to watch week to week because you're connected to the characters and I love that. That's amazing, but the amount of content you have to deliver for the amount of time and amount of resources, the math, it just doesn't work. That's why on two hands you can count every show that has gone from beginning to end with the same quality. It's just a machine that keeps going. That was terrifying to me. Tony, who wrote the show, came up with an amazing premise which is [that] we're gonna do a half hour thriller. I went, 'That, we might be able to do at this level.' We were talking through [it] and in my head, we have a sense of the story, we know where it's gonna go. In my head, it's sixty episodes. That's where we're gonna get to here, and get you guys to this place, and finish this story. This is where everyone's coming from. For [the audience] that would be thirty episodes of Game of Thrones. That would be three seasons or less of Game of Thrones, that [would be] over six years. The other thing that's really important to me is I do a lot of contained stories. I do that for a lot of reasons I'd like to insinuate. It's very practical. It's something I can execute at a high level and not travel all over the world. The other thing that's really, really unique about the show is it never leaves one location. The entire show, all the time, is always in one location so it has this almost play-like quality to it. We got to concentrate on the performances, the writing, the cinematography and every shot is thought out. When our directors come in we talk about... my theory about cinema is, if you're gonna do a medium shot on a character you need to tell me why. Why is she feeling medium? Is he feeling medium? Is that what she's feeling? Then why is the other person, are they both feeling medium? Why do we even do this scene? Talk me through it. It's to evoke an understanding of, if the frame is dropping that makes you feel something. The frame rising has a different feeling. Which feeling are you going for? Are you thinking about that? Is that the right lens? Is it a twenty-seven? Is it a thirty-five or is it a fifty? They all have different senses, depth, and create different emotions. They say different things about what the characters are. What does this all mean? For me, I feel when you guys see an image from this show, you will sense all of that. That's what I was referencing, your EQ being off the charts, that you will go, 'That's ringing true to me. I'm seeing all the resonance in the choice of colours, the framing, the textures. I see her dress as this pattern and the wall has the opposite pattern. I see that without knowing it and I can feel that there's thought and depth there,' and that will cause a connection. At home, when someone's watching a show and they're typing on their computer and watching [without fully paying attention], I'm watching that happen and I'm wondering why that's happening. I want you unable to do something else because [of] that tension in every frame. [These are] the aspirations. I have to say when we finished the first season, it was really one of the most rewarding things I've ever done. It's just been a really beautiful thing. I hope when you guys get to see it, you'll appreciate it."

Shyamalan directed two of the episodes of the first season, all of which was shot in Philadelphia. The set was built in a warehouse near his office and the entire creative process was a collaborative one with his cast and crew. He even shares how much fun he had editing the show at his house. This commitment to authenticity is at the core of Shyamalan's process, believing that every artist will thrive when they are as specific as possible. Since Shyamalan grew up in Philadelphia, it's a natural choice to make the series be set there.

When casting for his projects, Shyamalan has a spiritual perspective about how he finds his actors. By concentrating on the specific vision he has for his characters, the right actors for the part seemingly appear exactly when he needs them. He cites James McAvoy as an example, sharing the story of McAvoy walking up to him at a Comic Con with a shaved head and Shyamalan immediately knowing this was who needed to play the lead in "Split". As for casting the four leads of "Servant," Shyamalan describes Lauren Ambrose's audition as a "lightning bolt" that set things on the right track for the rest of the casting process.

"Toby [Kebbell] auditioned and I was like, 'God, this guys feels like a revelation.' He's like the guy's guy but he's super sweet. This is exactly how we pictured him. Then Rupert from Harry Potter came in, literally guys, he is transcendent in the show. It's like a different human being. We've seen him as a child and when does that ever happen where you find yourself as an actor as an adult? We are so lucky. Everybody I just mentioned are incredible physical actors as you'll see when you watch this series because it's a contained piece, they're all very physical with the way they act. You'll see it in their language, the running up the stairs, and how they conduct themselves. Then of course, you're looking for a new colour that you haven't seen and then Nell walks in. Nell Tiger Free, again, I've gotten very lucky with Abigail Breslin, Bryce [Dallas Howard], and Haley [Joel Osment]. Nell walked in and against all this energy you have this very quiet kind of mysterious quality of someone who's discovering themselves in the world and that energy, the four of them, it's just unbelievable. I'm so lucky. Honestly, I feel like, I don't know how to express this enough, that's why I love filmmaking. I feel really, really grateful."

Shyamalan has always embraced a sense of mystery in not only the works of fiction he creates but also the way he approaches the marketing of his content. "I'm very much a scene-based marketeer in the sense that I want you to see the tones of the show. I don't want it to be commonised. I want you to see that it's different. That's what makes you stop tying. You look up because the rhythms are different. In this particular case, we were really, really lucky. A lot of places wanted to make this show. We decided to go with Apple and the reason we did is because I felt there was a connection between the aesthetics that we talked about and them as a company, their kind of minimalism, their pass at spirituality, all of that. Also, this was an opportunity to help define this, which was a really  exciting thing to me, to help define a place. This new movement in how you guys watch content, to me with the biggest company in the world, and there's 1.6 billion devices that Apple has, to have that kind of reach and to say, 'Hey, let's tell a long-form story with them,' that was really exciting. They really did give me the opportunity to just go make it."

Shyamalan premieres the complete "Servant" trailer he has put together with Apple, that won't be premiered to the public for a few more months, to the New York Comic Con audience. It confirms what the early teasers and taglines hinted at, which is that the married couple of Sean (Toby Kebbell) and Dorothy (Lauren Ambrose) have a doll infant as a form of therapy following the loss of their newborn son. Dorothy is the one that is in denial about the doll not being an actual baby, while Sean is simply trying to help his wife through this traumatic ordeal.

Following the trailer, the four actors and "Servant" writer Tony Basgallop join Shyamalan on stage to further discuss their work on the series. One of the unique facets of the show is that all of the episodes are written from a single writer, which ensures a greater consistency in the style and voice of the show's continuity and tone. For many of the actors, this trailer reveal is the first time they have seen any of the finished episodes.

"I watched some of the first episode just today," says Ambrose. "There was emotion and tribulation! It was super beautiful and lovely to see everyone's beautiful work. As actors we're so focused on the minute details of our characters it was so lovely to see the scope of the story and the masterful cinema that it was." Ambrose says that in approaching the project, there were many scripts to look at right from the onset. "It really felt like making a film." Ambrose plays a character she describes as "really tragic" but was excited about being able to work in a genre she had never done before and explore grief in general and the specific grief of her character. "She takes her grief and expresses it in the most bananas way. Of course, we're all denying death. This character, thanks to Tony, takes it to a whole other level."

Shyamalan elaborates on the premise being a couple that loses a child and embarks on using this fringe therapy to deal with the trauma and grief caused by this loss. This doll is an actual form of fringe therapy that exists in our world, but in the series Dorothy takes this therapy so far that she goes and hires a nanny for the doll. The premise is intended to be tragic while also being inappropriately funny. Shyamlan gives full credit to Basgallop for being able to infuse that dimension of humour into an otherwise serious, dramatic concept and to Toby Kebbell for being funny where it was appropriate.

"It was a lucky position I was put in cause I'm dealing with so a huge amount of grief and guilt," says Kebbell. "Then, I have this incredible partner-in-crime who's my brother-in-law, played by Rupert. I have these two great positions to play. I had this blessed opportunity. I'm sitting there learning all these practical things with Drew Turpine, who's a phenomenal cook who was cooking with us the whole time. I'm dealing with this beautiful performance with Lauren, then I get to crack lines with Rupert. Those days were like a breath of fresh air."

The food aspect is a key part of Kebbell's material, as his character Sean is a professional chef. "It's life. For Sean, it's everything, it's his entire life. He's become a head chef, he's opened restaurants, he's closed restaurants to start a family. Food is that thing where it brings families together, it keeps them bonded. The extravagance, the search for new fragrances... there's eating, then there's the gastronomic eating. For me, it's that bond."

Nell Tiger Free begins the series playing a mysterious, enigmatic character, Leanne the nanny. "I think for me it was definitely tough to work out when to retreat and give more. Naturally in front of the camera I tend to retreat quite a lot, which was useful in some aspects. She's quite closed, you can't quite figure her out for pretty much most of the series. She's always sort of a big question mark in the house. What is she? Who is she? Why is she here? That kind of lent itself to my acting in the start. Naturally, it was quite helpful to not do big stuff. It was very difficult for me, stepping into the new shoes and trying to figure her out."

Rupert Grint consistently gets a strong reaction from the New York Comic Con audience, due to the residual interest in him from spending the bulk of his childhood acting in the Harry Potter film series. Now he is set to unveil an entirely new character, Julian Pearce, whom Grint is full of praise for. "I love Julian. He's something I've never really played before. He's just so brash and outspoken. He's so much fun. He is someone who is quite good in a crisis. It always feels like he's one step ahead. It's really when he comes face to face with Leanne that you learn he's a quite wounded guy."

It's revealed that Shyamalan was previously in talks to direct one of the earlier Harry Potter films. He even visited the set and met Grint when he was still a child. Grint admits to having a vague memory of the encounter, while Shyamalan notes how remarkable it is to see him transformed into a man now acting in this series.

The "Servant" cast raves about the attention to detail of the set design and how immersive the filming experience felt as a result. "It felt like a film to me," says Ambrose. "The attention to detail, the wallpaper, the patterns, beautiful clothes, incredible apartment, the fact that we're all trapped in this one space. For me, the result as an actor is interesting because nothing is casual. Every single word is considered. Every single word has weight and matters. 'Pass the fork' doesn't mean 'pass the fork' at all, ever. That's one of the things he was constantly reminding us. It's easy to just think, 'Oh it really just says pass the fork, doesn't it?' We were always mining for what's underneath, what's happening, what's the tension, and what's the subtext. It was so fun to play."

"Servant" premieres on November 28 on Apple TV+.

Watch the full "Servant" panel from New York Comic Con here:

"Bloodshot" Producer Shares How The Film Will Subvert From Superhero Movie Tropes

"Bloodshot" is one of the most exciting upcoming additions to superhero films. For those unfamiliar with the property, the character first debuted in 1992 and has been one of the most popular titles under Valiant Comics since then. The film adaptation is being brought to life in collaboration with Columbia Pictures and distributed by Sony, with Vin Diesel set to star as the titular character.

One of the film's producers, Dinesh Shamdasani, previously worked as the CEO of Valiant and is now a co-founder at Hivemind alongside other industry creatives that work to make the best adaptations as possible of books, comics, etc. into film and television properties. Shamdasani spoke on the "Hivemind Presents" panel at New York Comic Con and gave an exclusive insight into the film's inception and the creative process of adapting the comic character for the big screen. With only a few months until its release, fans have been eagerly anticipating any sort of insight into when the film's promotional campaign will begin.

"We wrapped principal photography. We have an edit. Visual effects are well underway. The studios Sony and Columbia have been incredibly aggressive about giving us the resources we need. I probably shouldn't say this, even yesterday on the Sony lot we were running around getting a little footage done, some inserts, close-ups, things like that. They've just been so supportive. Where we are is, there's a trailer, it's coming, [and] posters are coming. We're just at the tail end of doing the finishing, tweaking things, making it cool before the marketing campaign starts. Before the end of the year, I shouldn't say because Sony will kill me, but I highly recommend people watch Terminator: Dark Fate. I'm definitely getting in trouble."

Shamdasani has a unique perspective to share about bringing the film to life due to his previous work at Valiant giving him a better understanding of the source material when adapting it in collaboration with a major film studio. "Valiant [is] a publisher, it's the third largest publisher historically in comics. Bloodshot is one of the marked characters there. We had this plethora of characters to pick from. Bloodshot was the one that we identified, and said this is the one we wanted to push out first because it felt like it was the most naturally translatable to a film genre. The genre that we wanted to fit into, to translate it to, was the kind of sci-fi action, heady films that you would see especially in the '80s and '90s, things like Total Recall, Terminator, those kinds of films, RoboCop. What's fun about this is the audience is so well tuned to those movies now, we know them backwards and forwards, we know the Marvel movies backwards and forwards, and so we really challenged the creative team to figure out how we could subvert expectations. Eric Heisserer who wrote Arrival and was nominated for that for Best [Adapted] Screenplay [at the Oscars] and then has since done Bird Box, he wrote some comics for us at Valiant which, I highly recommend Secret Weapons, it's a great book. [He] really cracked a story in which you walk into the movie theater thinking you're getting one movie and about thirty minutes in, hopefully if we've done our job [you'll] sit there going, 'I can't believe this has happened. I have no idea where this movie is going' but you're excited. What's great about that is you just never get that experience anymore. Everything is given away to you online. Movies follow such a formula. Vin Diesel, our star, was so supportive of this. He, I think, was also feeling this because he's made these kinds of movies so much that breaking that formula is so rare to find the opportunity to do."

Shamdasani is full of praise for Vin Diesel and his passion for the project. "His persona is perfect for it. [We got him] through asking him relentlessly and not taking no for an answer. No, when he read the script, that was really the defining piece. Even when we were shooting on set, he was very involved. He's now a producer on the movie, He's very, very, very involved. He's made so many movies at such a high level that he really becomes the godfather of production. He knows every aspect of it. He was marshalling us to push the narrative. It was that subversion and the emotionality, which is not something you would think you'd be talking about with a movie called Bloodshot, that he really was like, 'This is why I'm doing it', because it does the things that the other movies in this genre don't really do. It also was the idea that when he first broke out, it was in Pitch Black, there was the point of view that you would hope he would become this big sci-fi action star and he's become this big star in a different way. What's really cool about Bloodshot is that it's the kind of movie that when you go and watch it, the opening sequence is him in full military fatigues. He looks awesome [in] a really cool set piece. By the end of the movie he's fighting this big science fiction fight with this guy with mechanical arms, I'm thinking about what I can say here, just the journey to go from there to there is this big, epic journey. At the same time, it's a character film. We don't have the budget. It's a hundred million dollar movie but it's not a three hundred million dollar movie. We're not competing with Marvel in spectacle. We're competing with Marvel and hopefully outdoing them, which is a big statement I know, in terms of character and emotion."

As is often the case when adapting comic characters to the big screen, extensive discussions and thought have been put into deciding how to make Bloodshot look relative to his original appearance and wardrobe in the comics. Shamdasani was mindful of this detail in the film's production. "It is in many ways an origin story and in many ways not, which is what I mean by subversion. That allows us to do the comic accurate iconic look, I don't want to spoil it for you, in a way that will be satisfying but perhaps not the way that it's feared. I think a lot of fans, myself included, would fear that we're gonna do the white skin, red chest the whole time and it's not going to fit. It would feel disconnected to the real world. There is a way that I think the filmmakers have built this that I think is very much in keeping [true to the comics]. That's actually one of the last things that we're dialling into the effects which I'm hoping gets done in time because we're trying to get it into the trailer. If not, sorry Bloodshot you're going to have to wait till the second trailer. It'll be worth it though."

Originally when the deal was made between Sony and Valiant to use the Bloodshot and Harbinger characters, the talks and news stories reporting on the matter seemed to favour the narrative that this would be the start of a larger Valiant Cinematic Universe. However, it was more recently reported that Paramount had acquired the rights from Sony to adapt Harbinger. Shamdasani clarifies the matter in regards to a Valiant Cinematic Universe.

"We had many conversations. There was Toyo Harada, [who] was at one point [in talks] to be in the film, H.A.R.D. Corps was where we [wanted] to end it, these are other characters in the Valiant Universe. Unfortunately Valiant has its own plans, different management system now, that's all off the table. There's a Bloodshot film. If it's a success, we get to make more, then there will be a Bloodshot world. The rest of it is up to Valiant. I think it will be unlikely for that to happen now."

When the panel opens up for an audience Q&A, I chime in to enquire about how the saturation of superhero material in the film/TV industry has effected the process of adapting Bloodshot for the big screen. I also ask about the villains of the story, and whether they were characters designed in their own right or if they were created to serve the larger story of Bloodshot's character journey. Shamdasani responds eagerly.

"In terms of saturation we were a little tricky with it. We got the movie made because superhero films are so successful and saturated, but the movie really only works if you've seen enough superhero films to kind of be bored by the formula. Our hope is that it is saturated to such an extent and I think Endgame really helped put a cap on what Marvel was doing for a long time and now they're gonna start a new thing. We're kind of coming in at the right time, we're very lucky, as a commentary and a subversion of some of the things they've done, ultimately embracing I think what will be the next phase of where the genre goes. In terms of the villains, we had villains that we had all built and they were frankly terrible. Our director Dave Wilson who is a genius and worked at Blur [Studios] which is with Tim Miller who did Deadpool [which] is very very visual, came in and was like, 'These are garbage. Let me create new ones.' We were like, 'Whatever, kid. You don't know what you're talking about.' Then he showed them to us and we were like, 'Cool man. Can you direct this for us, please?'"

"Bloodshot" will be released in cinemas 21 February 2020.

All quotes were sourced from the Bloodshot portions of the Hivemind Presents panel at New York Comic Con and can be verified here:

The Fascinating Perspective of Apple TV's "For All Mankind"

With Apple being the latest company to make a push towards expanding into streaming, a multitude of new series are being launched in the next few months on Apple TV+. One of them is "For all Mankind," a space-oriented alternate history that takes place in a world where the Russians were the first to land on the moon, which prompts a series of social changes in the U.S., including getting women to space first.

"Overall the show is kind of a split focus," says series creator Ronald D. Moore. "It's definitely about people on the ground and people in space. Some of the characters work at NASA at the Johnson Space Center in Houston. It's about them and their families and it's also about astronauts and their families. It's trying to paint a portrait of NASA as a whole."

Moore was approached by an Apple executive a few years ago who had the idea about doing a show focusing on NASA in the 1970s but Moore opted to take a different twist on the concept when moving forward with developing the show. "The more I thought about it, I realised that you could do that show, you could do 'Mad Men' at NASA but the story of NASA in the 1970s in my opinion is a sad one. The budgets keep getting cut back, the program keeps getting smaller, we're not going to Mars, things keep not happening. When I was growing up, I was excited by what the program was supposed to be, all the amazing things that were going to happen in space that didn't come to pass. I went back to [them] and said 'What if we did the alternate version? What if we did the version of the space program that I thought we were going to get but didn't?' [They] got excited by that and I was talking separately with Matt Wolpert and Ben Nedivi as a team of writers looking for some project to develop with them. I mentioned it to them, they got very excited about it."

Given how deeply the show is rooted in the development of space programs, space travel, and the various historical events surrounding it on a global scale, it was important to do extensive research to ensure that the plot could make sense as best as an alternate history can and also be accurate in regards to how space travel and the various programs to do with it work. Moore started with a base level of knowledge as a fan of space programs but had additional consultations to help fill in any other blanks.

"I was always a fan of the space program, read a lot of the books, and I just was always really interested in it. But then yes, we consulted with a lot of outside people. Garrett Reisman is one of our technical consultants, who was a former astronaut at NASA. We also have Mike and Denise Okuda who come from Star Trek but had also worked with NASA in various capacities. Beyond that, all the different departments on the show had their own technical consultants and researchers. We had a full-time researcher in the writer's room so there was a commitment to really getting as much authenticity into the show as possible."

Producer Maril Davis shared about the various themes that will be explored in the first season's writing. "We talk about the idea of what it means to go beyond where you are, relationships, inter-relationships between the husband and wife and what happens when the woman all of a sudden goes out in the workplace as well and what that means to a relationship. Obviously optimism, we always talk about, by losing the race to the moon we ultimately will win. That's a theme we look at quite a bit in this first season and then hopefully in seasons beyond."

"It's an aspirational show," adds Moore. "It's a very optimistic show. It's really about, 'Here's the path that could have been that we still can do.' It's really saying, this was an amazing time and we could have gone this route. We could have really expanded the footprints in space, we could have committed a lot of resources to something positive and uplifting to people in the United States and around the world and by implication we're saying that we still can. That's the general, big theme of the series."

Full interview with Ronald D. Moore and Maril Davis:

Wrenn Schmidt and Jodi Balfour play Margo Madison and Ellen Waverly respectively, both of whom are part of the team of women astronauts that are empowered by this alternate history for the trajectory of the U.S. efforts towards space travel and exploration.

"The most recent trailer places a lot of emphasis on women joining NASA," says Balfour. "That's certainly a huge part of the alternate history premise. We get to see in more detail why as the show goes on but if Russia put a man on the moon on the moon first, maybe America could put a woman on the moon first, to compete. That is one really wonderful aspect of [the show] but it's got a lot more going on. It's this amazing ensemble story where we get to fall in love and get to know ten or so characters that have wonderful, amazing individual storylines. We're looking at an America that's been changed by the fact that Russia swooped in and took something from America that America thought was theirs, that they thought they had in the bag, and what the ripple effect of that is. Does that necessarily mean that bad things happen because of that or perhaps could there be social progress that happens? Things like bringing women into NASA earlier happens, things like the first woman in mission control happens. Perhaps that dystopian future isn't necessarily go hand-in-hand with this alternate history premise. It's like a period show, more than anything else."

Schmidt explains that Margo Madison's journey through NASA isn't that far removed from any historical or contemporary story of a woman trying to work her way up through NASA. "When you first meet her, she's somebody who's in the back-up room who's supporting flight controllers that are assigned to very specific pieces of the mission. She would very much like to be sitting in one of those chairs. Even though she's maybe more qualified than some other people, she's just not being given that shot simply because she's a woman. I really don't think that varies all that much from our American history. That was before Title X. It was before people were really starting to understand that women were being pushed aside. I feel like it's kind of in line with that. There was an article in the New York Times last year about women learning to code early on and it was because men didn't want to do it, so women actually had opportunities to do it. I think there are a lot of parallels. It's a while before our story really diverges."

Schmidt was drawn to the project for the multi-faceted merits of the show. "It kind of has it all. There's one scene in the first episode which is one of my favorite scenes in the whole season. Margo's in that back-up room and she knows the answer to something and somebody outside is totally dropping the ball. If it was just okay for her to step in and say, 'This is what you need,' everything would be fine. She both can't do it and at the same time can't keep her mouth shut. Juggling those balls and then also trying to understand all of the technical language, and understand what part of the rocket she's talking about, what computer she's talking about, why it matters, for me that's like candy. As a nerd and an actor, I'm like, 'Oh look at all this stuff! I've got to figure out what this acronym means and what is this? Why is she talking about this?' It's just exciting!"

"The writing is also just so good," adds Balfour. "The scripts were so undeniably good when they came in. It's always fun as an actor, I think Wrenn and I have this in common, when you have to take a giant leap to be able to play that character. It demands research, it demands knowledge acquisition, it's nothing like the world she and I walk in day in and day out. The corny analogy is that we talk about walking in someone else's shoes and so much of that is acting, and when the shoes physically are from 1969 and everything that comes along with that it's such a rich experience to get to time-travel in a way."

With a stronger push than ever before for better material to be offered for women to play on screen, "For All Mankind" seems like a prime example of offering actresses a remarkable array of journey to play and consequently inspire the viewers to be more empowered within their own pursuits.

"It's hard not to love the notion that in fact, the fact that Russia gets to the moon first ends up aiding social progress, specifically in America and then that ripples out into the rest of the world," says Balfour. "Specifically for my character, we as women come into NASA more than a decade before women actually were first invited to join the astronaut program. That's one symbolic thing that is rippled out throughout the series. There are certain totems of social progress that happen sooner in our story because of this supposedly bad thing that happens. I just thought that was such an interesting way to look at it."

Full interview with Wrenn Schmidt and Jodi Balfour:

Michael Dorman and Sarah Jones play a married couple, Gordo Stevens and Tracy Stevens, who have the added dynamic in their relationship of being a couple in the public eye and under media scrutiny.

Dorman said yes to the project before he had even read scripts for it. "When we sat down to have a chat about it and they were talking about their projections of what the storylines were, I was really interested in the love between my character and Sarah's character playing out like a public relationship in the public eye, the pressure that that brings, the inequality in the household in terms of gender bias at home and then how that plays out in the time and sort of changing history in a sense as to what happened and when change was implemented in society. This one happened a lot earlier and it really excited me, that aspect, which is separate to space, which is a whole other thing."

"I got to read the first couple of episodes," says Stevens. "I actually had some concerns. In the first two episodes, I really appreciated that they take their time in setting up the atmosphere and what is going on in the world, at NASA, in politics, the whole thing. The character, Tracy's position, concerned me. After having conversations with Ron and company, I couldn't resist. Who can say no to Ron, honestly? He's the coolest. Ron was a big draw and his storytelling."

Dorman didn't know much about space travel and NASA before booking the job. "I realised the more that I learned, the more that I don't know. It kind of freaked me out. We're asking questions... what is out there? It's so big! The more that I got to peek behind the curtain into NASA and the space program, the minds that came together to create what they did at the time is phenomenal. The courage, the bravery of these guys, these space cowboys that went up there is wild. They just strapped themselves to a rocket, go into the unknown not knowing what's gonna happen, or if they're gonna come back, saying goodbye to your loved ones and going, 'Hey this might be the last time we every speak. I've written a little letter which is in the drawer. If anything happens, go and open up the drawer and read the letter.' I don't understand. They're doing it willingly. 'Yep, I'll do it, sign me up!' It's crazy what they had to do."

"We had an astronaut as a technical consultant, Garrett Reisman," adds Jones. "The connection of how super human they are... they are super humans. They're not just physically super human, they are intellectually super human, emotionally super human, they're just super humans. I don't know if that's because our generation grew up when... I grew up in Florida where we would get to go get out of our class to watch a launch. That would be the perk is getting out of school work as opposed to the actual [launch]. Getting into this world and meeting with Garrett, having the opportunity to speak with him and learn more about astronauts just blew my mind and what they did with what they had."

Full interview with Michael Dorman and Sarah Jones:

Shantel VanSanten is quick to share about how she only had a few days after being cast as Karen Baldwin before having to begin filming scenes for the show. "What drew me to it initially was that Ron Moore was writing and producing, and Apple. Knowing those two forces, that was a no-brainer. But more than that, the material was phenomenal. I booked it on a Friday and I started on a Monday. I said it was like cramming for an SAT of historical events and deciding character. What a whirlwind! It was kind of great though because I felt like I didn't quite have a grasp on who Karen was and what I was even doing and what was happening. Where we start off the story, that's exactly where she was so I got really lucky! I could use all of that in the role of playing an astronaut's wife, which is yes, if you have to label it, what she is, it's so much more than that. There's no stability or certainty so I just tried to use every bit of the whirlwind and infuse that into beginning a project of this magnitude that I still don't think I've grasped and understood."

VanSanten is playing the wife to Joel Kinnaman's character, with whom she acted with throughout the first season. "Joel Kinnaman plays Edward Baldwin. He's an astronaut. Their characters are loosely based on different stories but no particular person. I always say that in the beginning you think of Edward and Karen as these marble statue, like perfection, the typical astronaut, the typical wife, and slowly as the story unfolds and as Ron so beautifully crafts emotional heartbreaking things we see the cracks and we see things start to crumble and eventually shatter, and the challenges. I don't even think I understood what being an astronaut's wife is. I think we all have assumptions, and especially for women in that day and age, we make a lot of assumptions but some of them have found such reward in doing that job. Me as a modern woman, I didn't understand it at first with Karen. I didn't like it because it's not something I relate to, not something I typically want. That was such a wonderful challenge to take on, was finding ways to accept and like and empathise even."

Full interview with Shantel VanSanten:

The most notable absence from the "For All Mankind" press session at New York Comic Con is Joel Kinnaman, who has top billing on the series. Executive producers/co-creators Matt Wolpert and Ben Nedivi are gracious enough to offer an insight into Kinnaman's casting and character.

"Joel, casting him was really one of the highlights of this process," says Nedivi. "He's one of these actors that, I don't know, there's something different about him. Yes, he's beautiful, but I do think he's also got a charisma and sort of this dark side to him too that we wanted to embrace with this character. This was a really difficult character to cast. It took months and the moment he became available we just pounced and went after him. His excitement for the show as you'll see soon, is palpable. It really did encourage us and help with our whole cast, our whole ensemble. There's a lot of actors on this show and to have a guy like that be able to embrace the idea of an ensemble helped with everything. He's great."

"His character really embodies that sort of prototypical astronaut of that era," adds Wolpert. "This sort of masculine, aviator sunglasses, drives a fast Corvette... but a historical detail we discovered as we were developing the show helped us reframe him. We discovered that the Apollo 10 mission, which was basically a dress rehearsal for the Apollo 11, it got almost all the way to the moon and they just didn't land. They just circled and came back. We thought, well if the Russians had beaten us to the moon, what would the feelings be about that crew that had almost done it and if they had been able to go for it... Joel is the commander of that mission. The sense of regret, the what-if of his character really drove the presence of the show."

Full interview with Matt Wolpert and Ben Nedivi:

"For All Mankind" premieres November 1 on Apple TV+.

"Manifest" Will Take a Dark Turn in Season Two

NBC's hit series "Manifest" left fans on the edge of their seats with the many revelations and cliffhangers of the season one finale. Following the dissolution of Grace and Ben's marriage, it was revealed that Grace was pregnant but believed that Ben wasn't the father. Athena Karkanis shares that the paternity of Grace's baby will be revealed immediately when season two premieres.

"It's a direct pick-up from season one but pretty quickly we skip ahead. We learn in that first episode who the dad is. Obviously I'm not going to divulge that now but the way we learn it is really interesting and surprising. Even I was surprised when I read it."

Parveen Kaur says that her character Saanvi Bahl is still depressed. "She [has] her PTSD. She's still recovering from when she went through, in episode fourteen of season one, where she's held hostage and has a gun pointed at her face. The last couple of episodes of season one she just was really at a breaking point. That's where we pick up with Saanvi. We'll see in season two, she'll go to any lengths to figure it out and if that manifests in her doing some really questionable things, she's about it."

As the series is heavily interwoven with mystery and suspense, the stars are reluctant to spoil much about what's to come, but Karkanis is quick to express her admiration for the character direction and material Kaur has been able to play this season. "It's very cool where Saanvi's character is going. I texted her the other day to tell her how cool it is."

Kaur also teases a shift in tone for season two. "It's definitely darker, it's a lot darker this season."

"The first season was really about managing relationships and how this crazy event has thrown everyone into a tailspin as far as relationships and everyone recovering from that," says Karkanis. "Season two is really about the death date and I would say that's the overarching thing and really trying to overcome that and try to beat it, to beat death."

Full interview with Athena Karkanis and Parveen Kaur:

The Stone family has had more drama to deal with than a fractured marriage and unplanned pregnancy. After father Ben and son Cal were reunited with Grace and Olive after disappearing for five years, Cal was revealed to be having more extreme Callings than the other flight passengers. Actors Luna Blaise and Jack Messina portray Olive and Cal Stone and promise that this season holds more drama and heartbreak as the many mysteries of the show begin to be revealed more.

"At the start of this season, Olive has made a change to herself," says Blaise. "She is going down a downward spiral in all of season two. She is not in the right place at all which is great as an actress but for her, I feel bad. I feel for her. That's what Olive is going through. She's rebelling and twisted."

"Cal at the beginning of the season is the same ordinary kid but later in the season he starts taking callings more seriously and starts doing it with Ben and everyone else," says Messina.

"Kind of the whole family, except me," adds Blaise. "Cal is really going down his path, and becoming more of his own person."

These Callings consist of different visions that often send Cal off on different self-imposed missions to find people or information, with his parents and loved ones left to track him down afterwards to make sure no harm has come to him. When asked about the preparations for shooting these Calling scenes, Messina says he doesn't usually get to see any storyboards or footage of what it is that he's supposed to be seeing. "I just read episode 2.09 and for the first time in a long time, we [got] to see what he's actually seeing in the Calling."

Blaise also had the added layer to her story of having to play out the conflicted emotions of being caught between two father figures, as her mother began seeing a man named Danny whom she grew close to while her father was gone and believed to be dead. "Danny, he was someone who was in Olive's life before. That's someone who's still in her life. We will see where that goes but right now her main priority is mending that relationship with her dad."

Full interview with Luna Blaise and Jack Messina:

Jared Vasquez and Zeke Landon were part of one of the show's most dramatic cliffhangers, as a confrontation between the two had turned violent and escalated to the point of wrestling over a gun which goes off right when Michaela had returned to the apartment in which they were fighting. This will-they, won't-they love triangle may have turned deadly according to actors J. R. Ramirez and Matt Long, who are coy when asked about the outcome of this confrontation.

"There are some answers though," says Long. "The first episode picks up immediately after the last episode of the finale so you find out immediately where the bullet went and the aftermath of that. As the season progresses there are other questions we're trying to figure out, series long things, but other things the characters are trying to find answers to."

Ramirez holds a deep appreciation for the show's fantastical premise and sometimes dense material. "For me, I just think they've done such an amazing job with being able to create these diverse characters that are in these unimaginable circumstances. Everyone moves on after five and a half years, that's a long time. You're forced to have to live this new life that looks exactly the same but five years have passed, everyone's moved on. For my character, I had a hard time grounding him. He's a hard worker, he has a huge heart, but at the end of the day, he's not a cheater but he did. He after a long time fell in love with her best friend because of course it had to be her best friend, as it would in any scripted television show, and then she comes back and he has to live this new normal with seeing her every day. It's very rich and beautifully put together."

"I think I've been lucky in that regard," adds Long. "Zeke's had a lot of personal story. He's had a lot of back story, things that are compelling to me as an actor. I haven't had to play these big, huge abstract ideas as much. It's been more about personal connection and Zeke's history, his family, you'll see some more people in the second season as well. It's been more tangible for me to be able to play in a scene. It hasn't been as many big, abstract ideas as it has for other characters."

Full interview with J. R. Ramirez and Matt Long:

The Stone siblings, Michaela and Ben, have been central to the "Manifest" story from the very beginning. Not only are they intertwined in some of the biggest cliffhangers tying the first two seasons together, they also have a unique bond that is wholly unique to the other relationships on the show.

"There's that thing in real life called trauma bonding," says Melissa Roxburgh. "Despite them already having a history of life together, no one else understands and they have to lean into each other more because of that."

"It's unique," adds Josh Dallas. "There are other passengers who share the Calling but we're brother and sister so we have a history that's before that that's so deep and so complete and just in our bodies already as characters. It's a different kind of understanding than the rest of the passengers so we can really understand each other. We can be there for each other as support but we can also fly at each other and be angry at each other and we can be raw with each other and be true with each other because at the end of the day, we're the only ones that are gonna tell each other the truth. That's an important component to them."

Michaela was in the room with Jared and Zeke when the gun went off and the aftermath of this cliffhanger will have a lasting effect, according to Roxburgh. "In that room, one of three people got shot and whomever did get shot, the other two have to deal with the consequences of that. That's a huge part of the first couple episodes and moving into the rest of the season, that whole death date thing we've been talking about, that's a huge thing knowing that you have a certain most of left to live, what are your choices, what's important to you, do you try to stop it the way Ben approaches it or do you just lean into it and accept the time you have or do you go back and forth and thrown your hands up in the air?"

"As we open up the season with Ben," begins Dallas, "of course Grace is pregnant, there's this death date that he just discovered and the baby might not be his. There's a lot happening just within that. The answer to the baby will come very quickly. It will come in a way that is very unexpected and exciting. He's dealing with this death date and for him at the very beginning and throughout most of the first part of the season, it's about saving and preserving the things that he holds near and dear to him. He's gonna start making, because he's a practical man, he's gonna start making preparations for that death. He's gonna start doing things for himself, for his family, that for the event of that death will be there. But, he's also not going to fully accept it because he's Ben Stone. He's gonna go on this journey with Melissa and Saanvi too of trying to figure out a way to stop it, to stop the death date and find an answer to that mystery."

"Mich and Ben both continue to be each other's sounding boards," says Roxburgh. "Usually when one's on this page, the other's on that page. They balance each other out. When Ben does go full force trying to fix it, Michaela is the one to be like 'Hey, take your time, you only have this time,' and vice versa, Ben goes, 'Maybe that is what it is.' They usually have a way of balancing each other out."

Dallas adds that the Callings will also get more intense. "Once we get to [episode] seven, there are some major things that happen that change the way that particularly Ben looks at things. The Callings are different each time and demand something different from these characters and they're teaching something different to these characters. It's just intense all around."

Full interview with Melissa Roxburgh and Josh Dallas:

With any promotional gathering for a new television series or season, it's essential to speak with any producers/writers in attendance, given how strict the orders tend to be for actors to not spoil things that are coming up. Typically, producers tend to offer more information about the larger trajectory of a show's plot and character journeys.

"Manifest" creator and executive producer Jeff Rake has had a six-year/season plan for the show from the very beginning. He keeps track of the many moving plot points for the entire creative vision as well as a more detailed outline when beginning a new season.

"I have everything mapped out on a board just like that. I have my six year plan which I've always had, and then at the beginning of every season my writers and I spend two weeks in the room creating literally that board. In Hollywood, California, there is a conference room with literally that board, the thirteen-episode grid, vertical axis with all the characters, horizontal axis by episode, that is completely filled in and that is our Bible for season two."

This efficiency and organisation for conceiving of and planning the stories is evident when Rake goes on to share what's to come in season two.

"At the end of season one, we had a couple of different cliff-hangers. The most fundamental one is this mythological card-turn about this death-date. The plane had been missing for five and a half years and we discovered in the season one finale that the passengers may only have five and a half years to live. The exact amount of time they've been gone, that's how much time they've got. Why? What does that mean? Season two among other things will focus on the idea of this death date. That will drive story for us in two different ways. Number one, from a place of mystery and mythology. Primarily the characters of Ben, Michaela, and Saanvi are on the case. They're on the death date case trying to figure out if it's a real thing and if this is a real thing is there any way to undo that death date. Ben and Michaela from a place of the mythological, they're kind of exploring these voices and visions. What do they mean? Is there anything about these callings that they experience that connect them to the death date? Are these all puzzle pieces that can be put together? At the end of season one, they put some puzzle pieces together with the help of Olive to help them understand the death date. Now in season two, Ben, Michaela, Olive and others are gonna be putting more puzzle pieces together to try to understand if there's a work-around for the death date and by the end of season two, they may just come to discover that there may be a way around this and what they learn specifically is gonna drive season three.
The other side of the equation is emotional. When you learn you have a death date, in the real world a lot of people do learn that they have a death date, that's a real emotional driver. You know you have a finite amount of time to live, what do you do with those choices? A lot of the story-telling in season two from the emotional side of the show, relationships, love, romance, choices made, second chances, is very much driven by that death date."

Full interview with Jeff Rake:

The Jim Henson Company and Music.Film Recordings present the picture disc release of music from 1977’s EMMET OTTER’S JUG-BAND CHRISTMAS

Just in time for the holiday season, a picture disc LP with music from Jim Henson’s EMMET OTTER’S JUG-BAND CHRISTMAS, featuring artwork from the beloved TV special, will be released as part of Record Store Day Black Friday 2019 on November 29th at thousands of independent record stores, exclusively from Music.Film Recordings. A list of participating stores can be found at recordstoreday.comThe 16-track album with music written and produced by Grammy®-, Golden Globe®- and Oscar®-winning songwriter, Paul Williams (“Rainbow Connection,” ‘Theme from “The Love Boat,’” “We’ve Only Just Begun”) is limited to 3000 copies. 

Based on a book by Russell and Lillian Hoban, this beloved Christmas tale, with an all-puppet cast of woodland creatures, tells the story of Ma and Emmet Otter – a family that has little more than each other. When a talent show is held in town, a fifty-dollar prize gives them each hope of buying the other a real present. Originally broadcast on HBO in December 1977, the special was nominated for four Emmy® awards. Directed by Jim Henson and adapted for the screen by Jerry Juhl, EMMET OTTER starred Jerry Nelson (Fraggle Rock, The Dark Crystal, Sesame Street, The Muppet Show) as Emmet Otter, Frank Oz (Star Wars, The Muppet Show, The Dark Crystal) as the puppet performer of Ma Otter, Marilyn Sokol (Sesame Street) as the voice of Ma Otter, along with frequent Muppet performers Dave Goelz, Richard Hunt, Eren Ozker, and Jim Henson himself.

Along with the CD and digital versions of the album, out now, the picture disc will contain 15 tracks from the TV special and a bonus, “lost” song that never made it to air, along with extended liner notes featuring interviews with Oz and Goelz, and a special note from Williams. Paul recalls, “The great thing about Jim Henson is that he never wrote down to his audience. He never asked me to write kids’ music. But there is a humor in there that is pure Muppet. And I think that the inspiration came from the book, but it also came solidly from my exposure to Jim’s style. That’s why you wind up with lines [from “Bar-B-Que”] like ‘the sauce Mama makes will stay there forever if you dare to get it under your nails.’ I think that sometimes we’re at our best when we’re trying to show off for somebody we really love – and I really loved Jim.”
1.      The Bathing Suit That Grandma Wore         
2.      Jam Session
3.      Ain’t No Hole In The Washtub
4.      When The River Meets The Sea
5.      Bar-B-Que (Jug Band)
6.      Carrots The Dancing Horse      
7.      Bar-B-Que (Yancy Woodchuck)
8.      Dancing Rabbit Act
9.      Squirrel Acrobatic Act
10.     Our World
11.     Brothers
12.     Riverbottom Nightmare Band
13.     Our World-Brothers
14.     Our World-Brothers Club Reprise
15.     When The River Meets The Sea Reprise 
16.     Born In A Trunk
Music.Film Recordings is the new soundtrack label launched by music services specialist Cutting Edge Group, a Grammy Award-winning music company for film, television, advertising, and games, and owner of the world’s preeminent independent film music catalog, including Academy Award winners The King’s Speech, Whiplash, the John Wick franchise, and Academy Award-nominated Sicario. Music.Film Recordings provides its partners with a full suite of creative, marketing, promotional, licensing, and distribution services. Music.Film Recordings is distributed worldwide by Universal Music Distribution, in partnership with iconic soundtrack label Varèse Sarabande Records, wherever music is sold, downloaded, or streamed. Recent Music.Film Recordings titles include Sicario: Day of the Soldado composed by Hildur Guðnadóttir, Daniel Hart’s The Old Man & The Gun, and A Private War featuring Golden Globe-nominated original song "Requiem For A Private War" by Annie Lennox. 
For more information about Cutting Edge Group, visit http://www.cuttingedgegroup.com.  For licensing requests, visit www.music.film.
The Jim Henson Company has remained an established leader in family entertainment for over 60 years and is recognized worldwide as an innovator in puppetry, animatronics and digital animation. Best known as creators of the world-famous Muppets, Henson has received over 50 Emmy Awards and nine Grammy Awards. Recent credits include Dot. (Universal Kids /Hulu), Word Party (Netflix), and Doozers (Hulu/ Sprout), and the Emmy®-nominated Splash and Bubbles (PBS), Julie’s Greenroom (Netflix), Sid the Science Kid (PBS), Dinosaur Train (PBS), and Pajanimals (Universal Kids). Television productions include Fraggle Rock, The Storyteller and the sci-fi cult series Farscape. Features include Sony Pictures Animation’s The Star and Disney’s Alexander and the Terrible, Horrible, No Good, Very Bad Day, as well as The Dark Crystal, Labyrinth, MirrorMask, Jim Henson’s Turkey Hollow, the Netflix original series The Dark Crystal: Age of Resistance and Guillermo Del Toro’s Pinocchio (Netflix).

With additional locations in New York and London, The Jim Henson Company is headquartered in Los Angeles on the historic Charlie Chaplin lot, complete with soundstage and post production facilities. The Company is home to Jim Henson’s Creature Shop™, a pre-eminent character-building and visual effects group with international film, television, theme park and advertising clients, as well as Henson Recording Studios, one of the music industry’s top recording facilities known for its world-class blend of state-of-the-art and vintage equipment. The Company’s Henson Alternative brand recently premiered The Curious Creations of Christine McConnell (Netflix) and is currently touring Puppet-Up! – Uncensored, a live puppet improvisational show. Its feature The Happytime Murders, starring Melissa McCarthy, was released last summer.



The soundtrack albums to Chad Stahelski’s John Wick trilogy with scores by Tyler Bates and Joel J. Richard, will be available for the first time as 2LP sets in gatefold jackets on November 15th, exclusively from Varèse Sarabande Records and Music.Film Recordings. The vinyl editions will be available at VareseSarabande.com and other retailers.
"While his fight, stunt, and weapon work is second to none, Chad [Stahelski] embraces original music with equal passion - setting the table for Joel Richard and I to experiment and create a distinct "sound" for the John Wick world. Five years ago, we cranked "Killing Strangers" at concert volume in my studio. And now John Wick is a trilogy. Working with Chad has been a truly amazing experience." – Tyler Bates.
John Wick – Original Motion Picture Soundtrack
Scored by Tyler Bates and Joel J. Richard, with additional song contributions from KALEIDA, Le Castle Vania and Ciscandra Nostalghia, as well as an added track of Marilyn Manson’s “Killing Strangers.” 
Side A:
  1. Every Ending Has A Beginning (1:31)
  2. Story Of Wick (3:05)
  3. John Mourns (2:29)
  4. Assassins (2:12)
  5. Dear John (1:49)
  6. Daisy (1:29)
  7. Evil Man Blues - (Performed by The Candy Shop Boys) (4:20)
  8. The Red Circle - (Performed by Le Castle Vania)  (1:00)
Side B:
  1. Lure The Wolf (2:04)
  2. Iosef The Terrible (2:34)
  3. Chop Shop (2:52)
  4. Baba Yaga (1:46)
  5. On The Hunt (2:11)
  6. In My Mind - (Performed by M86 & Susie Q) (3:07)
  7. The Drowning - (Performed by Le Castle Vania) (2:24)
  8. Think - (Performed by KALEIDA) (3:59)
Side C:
  1. LED Spirals - (Performed by Le Castle Vania) (:59)
  2. Shots Fired - (Performed by Le Castle Vania) (3:11)
  3. Old Friend Marcus (1:33)
  4. Hotel Throw Down (2:55)
  5. Warehouse Smack Down (2:44)
  6. Who You Talkin’ To Man? - (Performed by Ciscandra Nostalghia) (4:41)
Side D:
  1. Membership Revoked (2:04)
  2. Unfortunate Priest (1:49)
  3. Dock Shootout (2:42)
  4. No More Guns (2:05)
  5. Be Seeing You (3:38)
  6. Killing Strangers - (Performed by Marilyn Manson) (5:37)
John Wick: Chapter 2 – Original Motion Picture Soundtrack
Scored by Tyler Bates and Joel J. Richard, with additional song contributions from Le Castle Vania, Nostalghia and Jerry Cantrell of Alice in Chains.
Side A:
  1. Plastic Heart (Performed by Nostalghia) (2:05)
  2. Shark Chevelle (1:18)
  3. Man Of Focus (3:24)
  4. Sumo Showdown (3:21)
  5. Peace and Vodka (3:00)
  6. Missing Helen (2:16)
Side B:
  1. Back In The Ground (2:23)
  2. Santino (5:49)
  3. Walk To Museum (1:04)
  4. Guns And Turtlenecks (1:41)
  5. Wick In Rome (2:29)
  6. Suits Maps and Guns (5:05)
Side C:
  1. Fool (Performed by Nostalghia) (2:59)
  2. John Wick Mode (Performed by Le Castle Vania) (3:07)
  3. Razor Bath (5:30)
  4. Catacombs (3:49)
  5. La Vendetta (3:40)
Side D:
  1. Fountain Foes (2:07)
  2. Knives On A Train (2:42)
  3. Presto Museum Battle (Performed by Joel J. Richard) (2:54)
  4. Mirror Mayhem (4:29)
  5. John Wick Reckoning (3:02)
  6. A Job To Do (Performed by Jerry Cantrell) (4:51)
John Wick: Chapter 3 – Parabellum
Scored by Tyler Bates and Joel J. Richard.
Side A:
  1. Parabellum (Opening Titles)
  2. Tick Tock Mr. Wick
  3. Taxi Ride
  4. Excommunicado
  5. Rain Chase
  6. Antique Gun Assembly
  7. J.W. Horse Whisperer
Side B:
  1. Dance of the Two Wolves
  2. The Adjudicator
  3. Wick In Morocco
  4. Kill What You Love
  5. Continental Morocco
  6. Desert Walk
Side C:
  1. Elder Tent Offering
  2. He Shot My Dog
  3. Grand Central Station
  4. Cycle Samurais
  5. The Glass House
Side D:
  1. Deconsecrated
  2. Winter At The Continental
  3. Shotgun Hot Tub
  4. Glass House Fight
  5. Zero vs Wick
  6. Really Pissed Off (End Credits)
Founded in 1978, Varèse Sarabande is the most prolific producer of film music in the world, releasing the highest quality soundtracks from the world’s greatest composers. From current box office hits and top television series to the classics of Hollywood’s Golden Age, Varèse Sarabande’s catalog includes albums from practically every composer in every era, covering all of film history; from Bernard Herrmann, Alex North and Jerry Goldsmith to Alexandre Desplat, Michael Giacchino and Brian Tyler. Varèse Sarabande is a part of Concord.”
Music.Film Recordings is the new soundtrack label launched by music services specialist Cutting Edge Group, a Grammy Award-winning music company for film, television, advertising, and games, and owner of the world’s preeminent independent film music catalog, including Academy Award winners The King’s Speech, Whiplash, the John Wick franchise, and Academy Award-nominated Sicario. Music.Film Recordings provides its partners with a full suite of creative, marketing, promotional, licensing, and distribution services. Music.Film Recordings is distributed worldwide by Universal Music Distribution, in partnership with iconic soundtrack label Varèse Sarabande Records, wherever music is sold, downloaded, or streamed. Recent Music.Film Recordings titles include Sicario: Day of the Soldado composed by Hildur Guðnadóttir, Daniel Hart’s The Old Man & The Gun, and A Private War featuring Golden Globe-nominated original song "Requiem For A Private War" by Annie Lennox. 
For more information about Cutting Edge Group, visit http://www.cuttingedgegroup.com. For licensing requests, visit www.music.film.
Copyright © 2013 Something to Muse About and Blogger Templates - Anime OST.