Keira Knightley has pulled out of The Essex Serpent, the upcoming drama series for Apple TV+, over 'family reasons' relating to coronavirus.
Keira Knightley has pulled out of Apple TV+ series “The Essex Serpent” ahead of its production start in the U.K. due to coronavirus-related child-care concerns.A representative for Knightley, who was going to both star on and executive produce the adaptation of Sarah Perry’s novel, said in a statement to TheWrap on Monday, “Keira had to unfortunately pull out of the Essex Serpent due to family reasons. As the Covid cases increase in the UK and additional lockdown and restriction rules are potentially being imposed, with so many unknowns, there wasn’t a comfortable scenario for Keira that could be put in place for an extended period of child care required for the 4.5 month production.”The 35-year-old actress has two daughters with her husband, James Righton: 5-year-old Edie and 13-month-old Delilah.Apple TV+ ordered “The Essex Serpent” to series at the end of August with Knightley attached as star and EP. The streaming service has now delayed the start of production on the project in order to find a new leading lady, an individual with knowledge tells TheWrap.Also Read: 'Dickinson' Gets Season 2 Premiere Date, Season 3 Renewal at Apple TV+ (Video)Representatives for Apple TV+ and Knightley did not immediately respond to TheWrap’s request for comment.“The Essex Serpent” follows newly widowed Cora (meant to be played by Knightley) who, having being released from an abusive marriage, relocates from Victorian London to the small village of Aldwinter in Essex, intrigued by a local superstition that a mythical creature known as the Essex Serpent has returned to the area.The series is set to be directed by Clio Barnard (“The Selfish Giant,” “The Arbor”). Anna Symon (“Deep Water,” “Mrs Wilson”) will serve as lead writer. Excluding Knightley, executive producers include Jamie Laurenson, Hakan Kousetta, Patrick Walters, Iain Canning, Emile Sherman, Barnard and Symon. Andrea Cornwell is a producer.“The Essex Serpent” will be produced for Apple TV+ by See-Saw Films, and is commissioned for Apple out of the U.K. by Apple’s heads of worldwide video, Zack Van Amburg and Jamie Erlicht, and creative director for Europe Worldwide Video, Jay Hunt. See-Saw Films is the company behind “The King’s Speech” and “Top of the Lake.” The series joins fellow Apple TV+ international series like “Suspicion,” “Slow Horses,” “Echo 3,” “Shantaram,” “Pachinko” and “Masters of the Air.”Read original story Keira Knightley Drops Out of Apple Series ‘Essex Serpent’ Over COVID-Related Child-Care Concerns At TheWrap
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Secret ending? No.Running time: 97 minutes“Collateral Beauty” is a semi-romance drama with an ensemble cast.An advertising firm finds itself in dire straits when its founder is unable to overcome his grief over losing his daughter and spends his days writing to Love, Time, and Death. Left with no choice, his three other business partners hatch a plan to get three actors personifying Love, Time, and Death to help the grieving father overcome his issues.It stars Will Smith (Howard Inlet), Edward Norton (Whit Yardshaw), Keira Knightley (Amy/Love), Michael Pena (Simon Scott), Naomie Harris (Madeleine), Jacob Latimore (Raffi/Time), Kate Winslet (Claire Wilson), and Helen Mirren (Brigitte/Death). It is rated PG-13.“Collateral Beauty” looks like the ultimate chick flick — a title that screams love and emotions, a plot that sounds like it would have plenty of touching declarations, a fantastic cast, and a very manageable run time. But it’s not.“Collateral Beauty” is a tremendous disappointment precisely because it had so much going for it. It gets everything right except for the script. A clumsy story, dialogue that would make you cringe and laugh at the same time, and unnatural plotting combine to show you a film that’s paved with good expectations but goes down the road of inexperience. It’s almost as if this is the production team’s very first student project with a multi-million dollar budget.HighlightsAn intriguing premiseThe idea behind the film is a very, very interesting one — writing letters to three abstractions that form the basis of all human motivation. It’s thought-provoking since you immediately start to formulate your own letters, and you can also identify with the issues brought up in them. Getting three actors to play those parts is, admittedly, a strange development, but a fascinating one nonetheless, since it causes the audience to also wonder about their own responses to these abstractions.The execution, however…LetdownsThick expositionWe have to wade through great swaths of boring explanation to set up the contrived situation that the four partners find themselves in. As seasoned performers, their delivery turns this information dump into an evocative display of (ultimately meaningless) emotion. But this is a rookie writing mistake. Which writer worth his salt would put so much explanation at the beginning of the film instead of parsing it out gradually through the film?Cheesy, on-the-nose shotsIn one memorable moment, a woman tells the story of how she lost her son. The camera flat-on zooms in on her face as she does so, without any sense of angle or depth or direction, ending just as she finishes her sorry tale. You can see the intention behind the shot, but it looks like it’s the first time the director has shot a film. Similar shots puncture the rest of the film, making you wonder if the director has watched any film before, or if he’s just following instructions from a film direction textbook.Dialogue culled from memes and quotable quotesThe dialogue is so bad it’s almost comedic at times. Everyone says exactly what they say or feel, with no subtext unless added by the actors (which you know is pointless because it is never followed up on), using lines that appear on motivation posters and memes. You want to know if the writer succumbed to some sort of challenge to only write lines using words that appear in lists of quotable quotes.Too neatly packagedIt’s understandable not to want to leave loose ends. It’s another thing to make sure that everything feels as neat and structured as a Lego brickhouse. Three abstract entities? Why, the main character has three friends who coincidentally, identify with each entity. Everyone suddenly spouts their sad stories in successive scenes, and everyone’s problems are later resolved one after another in the denouement. It’s so perfectly put together that it feels like a bad fairy tale. Adding “and they lived happily ever after” at the end of the movie wouldn’t be out of place, thanks to this awkward neatness.“Collateral Beauty” tells but doesn’t show.Should you watch this at all? Maybe some day when you’re on a plane with nothing to do.Should you watch this if it’s free? Read above.Score: 1.0/5“Collateral Beauty” opens in cinemas:– 5 January, 2016 (Singapore)– 15 December, 2016 (Malaysia)– 4 January, 2016 (Philippines) Marcus Goh is a Singapore television scriptwriter. He’s also a Transformers enthusiast and avid pop culture scholar. He Tweets/Instagrams at Optimarcus and writes at marcusgohmarcusgoh.com. The views expressed are his own.
In the wake of the debacle between Keira Knightley and her ‘Begin Again’ director John Carney, here’s a handy run-down of the times that directors have famously slated their own actors.Image credits: Rex Features
John Carney, who directed Keira Knightley in the 2013 movie ‘Begin Again’, has issued an apology after he slated her in an interview. In a note posted to Twitter, prefixed with ‘From a director who feels like a complete idiot’, he said: “Recently, in a phone interview, the conversation turned to a discussion about a past film, ‘Begin Again,’ starring Kiera (sic) Knightley. “I said a number of things about Keira which were petty, mean and hurtful.
Directors who have worked with Keira Knightley have rallied to her defence, after she was slated by ‘Begin Again’ helmsman John Carney. Carney said he’d never consider casting a 'supermodel’ like Knightley again, criticising her performance and the supposed 'entourage’ that comes with her. “My experience with #keiraknightley was utterly spectacular on every level.