Exclusive: Broadway actor Aaron Lazar has been cast in a co-starring role opposite Kim Cattrall in Fox’s high-profile new drama series Filthy Rich, from The Help writer-director Tate Taylor, Imagine Television and 20th Century Fox TV.
He is stepping in for Steven Pasquale who had to drop out for personal reasons a week before start of production. Recasting went down to the wire, and filming on Filthy Rich begins today in New Orleans as scheduled.
Alan Markfield/Fox
Filthy Rich is a southern Gothic family drama in which wealth, power and religion collide – with outrageously soapy results. When the patriarch of a mega-rich Southern family, famed for creating a wildly successful Christian television network, dies in a plane crash, his wife and family are stunned to learn that he fathered three illegitimate children, all of whom are written into his will, threatening their family name and fortune.
Lazar will play Reverend Paul Luke Thomas,...
He is stepping in for Steven Pasquale who had to drop out for personal reasons a week before start of production. Recasting went down to the wire, and filming on Filthy Rich begins today in New Orleans as scheduled.
Alan Markfield/Fox
Filthy Rich is a southern Gothic family drama in which wealth, power and religion collide – with outrageously soapy results. When the patriarch of a mega-rich Southern family, famed for creating a wildly successful Christian television network, dies in a plane crash, his wife and family are stunned to learn that he fathered three illegitimate children, all of whom are written into his will, threatening their family name and fortune.
Lazar will play Reverend Paul Luke Thomas,...
- 9/13/2019
- by Nellie Andreeva
- Deadline Film + TV
There have been more than 400 film and TV adaptations so far, and counting, some brilliant, some memorably awful
The opening credits of BBC1's new three-part adaptation of Great Expectations (27-29 December) show a chrysalis cracking open to reveal a pair of trembling wings. A few seconds later this delicate emergence is replaced on screen by the escaped convict Magwitch (Ray Winstone) erupting from the stagnant waters of the Essex marshes. Covered in blood and slime, he is at once the monster of nightmares and a huge misshapen baby gasping its first breath.
In a single sequence, the director Brian Kirk gets to the heart of Dickens's novel as a fable of rebirth and renewal. Together with Sarah Phelps, the screenwriter, he has created a world in which characters are forever seeking to transform themselves – or each other. A spookily young Miss Havisham (Gillian Anderson), still cocooned in her tatty wedding dress,...
The opening credits of BBC1's new three-part adaptation of Great Expectations (27-29 December) show a chrysalis cracking open to reveal a pair of trembling wings. A few seconds later this delicate emergence is replaced on screen by the escaped convict Magwitch (Ray Winstone) erupting from the stagnant waters of the Essex marshes. Covered in blood and slime, he is at once the monster of nightmares and a huge misshapen baby gasping its first breath.
In a single sequence, the director Brian Kirk gets to the heart of Dickens's novel as a fable of rebirth and renewal. Together with Sarah Phelps, the screenwriter, he has created a world in which characters are forever seeking to transform themselves – or each other. A spookily young Miss Havisham (Gillian Anderson), still cocooned in her tatty wedding dress,...
- 12/24/2011
- by Robert Douglas-Fairhurst
- The Guardian - Film News
How did Dirk Bogarde get from Doctor in the House to The Night Porter? With a wilful desire to destroy his matinee idol status. And the signs were there for all to see in his early work
The Odeon, Leicester Square, 1960. The red-carpet premiere of a film that will change the story of British film and British society. The lights are killed, the crowd falls silent. The roar of industrial machinery thrums from the speakers. And over the noise comes the voice of the hero, a Brylcreemed lathe-operator with greasy overalls and insolent good looks. "Don't let the bastards grind you down," says Dirk Bogarde, and with those words, Saturday Night and Sunday Morning and its star give instant definition to the new decade.
In some fairly proximate parallel universe, this is how the 1960s might have begun. It could have happened here, too, if the owner of Pinewood studios...
The Odeon, Leicester Square, 1960. The red-carpet premiere of a film that will change the story of British film and British society. The lights are killed, the crowd falls silent. The roar of industrial machinery thrums from the speakers. And over the noise comes the voice of the hero, a Brylcreemed lathe-operator with greasy overalls and insolent good looks. "Don't let the bastards grind you down," says Dirk Bogarde, and with those words, Saturday Night and Sunday Morning and its star give instant definition to the new decade.
In some fairly proximate parallel universe, this is how the 1960s might have begun. It could have happened here, too, if the owner of Pinewood studios...
- 3/25/2011
- by Matthew Sweet
- The Guardian - Film News
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