Actor Alan Tudyk has spoken to Hypable about his recent run-in with Joss Whedon, the never-wavering fan support for Firefly, and the Ant-Man rumours.

Yesterday we brought you an exclusive scoop on Suburgatory from Tudyk, who could tease some big developments between Noah and his wife.

Firefly castToday it’s time to talk Firefly – remember that little show that went on for a season and ended more than 10 years ago? Wait, why are we even still talking about that? Oh right, because 10 years on and the Browncoats are still clamoring for the series to come back – and apparently so are the cast and crew.

Even after all this time, “Not only is there a want from fans, but there’s a want from Joss [Whedon], and from Nathan [Fillion], certainly, and the cast,” Tudyk confirms.

But even if there is a will, is there actually a way? Talking more logistically about how it could actually work, Tudyk points to Arrested Development as an example of how the show could be brought back. “This was taken off the air right about the same time that we were,” he says, “and that was a show that was on Fox, with a bunch of people who have gone on to do many other things, and they’re getting them back together for another 14 episodes. So it can be done.”

Alan Tudyk wants Firefly back
He even has the technicalities worked out. “Netflix has a business model that works to revive a show that has an existing audience. As a subscriber-based service they can make it work financially.”

Joss Whedon himself recently spoke about Firefly, and expressed his desire to revisit the show at some point, but didn’t want to commit to anything. And Tudyk reckons that’s probably the one thing that might hold the project back. “I don’t think it’s gonna be done unless it’s perfect, as far as, Joss has the idea and he’s like ‘Ooh, that has to be done,'” he says honestly.

Alan Tudyk Wash FireflyWhen we ask – a little skeptically – whether there might come a time when it’ll simply be too late to bring the show back, Tudyk is insistent that this fandom doesn’t have an expiration date. Because, while “all the characters were great, and everyone was important,” ultimately Tudyk believes that, “as long as we’ve got Mal, I think that you can stitch it back together.”

And in Tudyk’s opinion, that could happen at any time after Castle ends and there’s a break in Fillion’s schedule. “He could be 50 when that happens,” he says enthusiastically, going on to share his (suprisingly detailed) idea of how the story could continue: “You could find Mal living on some moon somewhere, and then somebody finds him. It’s that old set-up where somebody finds him and they’re like, ‘you’re needed.’ Something happens that he saddles back up, gets in the ship and goes. And he puts the band back together. And finds everybody wherever they are, to go do something.”

Tudyk, for certain Serenity plot reasons, doesn’t believe he himself would be able to return for another movie or season. But we were persistent that he has to return as Wash for this to work, which led to some impromptu brainstorming about how that could be done:

You could come back in flashbacks.

Well, there’s a time limit on that one. That’s the only thing there’s a time limit on, because I’m not gonna look like me in a flashback by next week. ‘Well this was Wash when he was 20,’ hmmm wow, yeah, no. They’d have to make some kind of excuse for the aging process that took place.

You could be looking at an Indiana Jones kind of situation. Mal and his son, off on adventures, and then you…

[Laughs] Mal and his son! I’ll play his son.

There you go.

It’ll be a stretch, but…

Or you could imagine some kind of Obi-Wan Kenobi thing where you appear in a blue light and guide them all on their quest.

‘Use the force, Mal.’ ‘What?’ ‘The force!’ ‘What is that?!’ ‘Hmm.’

‘Hmm, we don’t have one of those here.’

‘The force field? We don’t even have that.’

See? Joss Whedon, if you’re reading (and we’re sure you are, because it’s not like you’re busy or anything), there are a lot of ways it could be done.

Tudyk, of course, must have had a lot of opportunities to think about how Firefly could be brought back, considering that he is asked about the show in almost every single interview he does. Luckily, he doesn’t seem tired of talking about it.

“I think that we knew that it would always have a place in our hearts, but we did not know when it was cancelled that it would have a place in other people’s hearts, not like this,” he admits. “This is, it’s gotten – it’s gotten a little silly at this point. My goodness, people talk about it on other shows! There are other TV shows on the air where they mention it, and how it needs to come back. I saw it on Community, and they do it on The Big Bang Theory, and…” he pauses (and we hold our breaths, sure he’s about to tell us that we’re crazy), “and it’s so cool. I’m blown away.”

Alan Tudyk holding on to Firefly
Tudyk finds the fan support especially touching because of the way the Fox network so unceremoniously let them go. “I don’t know what all the reasons were … but back when it was on, we were fighting, holding on, and being like, ‘don’t cancel us. We think this is awesome! What’s wrong with you?!’ So to have people who agree with something that you were fighting so hard for is amazing.”

But for now, Nathan Fillion still has Castle and Joss Whedon of course is busy with Avengers 2 and S.H.I.E.L.D. And don’t expect Tudyk to appear on the latter any time soon. “I just saw Joss the other day. I just went and checked out the… what is that show they’re doing? S.H.I.E.L.D. Not SWAT. Shows how much I know about it,” he laughs.

But was he trying to trick us? Was this really a meeting to discuss super secret S.H.I.E.L.D. guest appearance plans? …No. “I just happened to be on the lot where they were shooting, and I was leaving,” Tudyk quickly clarifies, “and a Firefly fan was there who worked on the lot, and they asked if I was there to see S.H.I.E.L.D. And I was like, ‘what? They’re here?!’ So I texted Jed [Whedon] and was like, ‘where the hell are you?’ And I went by and Joss was there, it was very cool.”

Alan Tudyk Ant-ManAnd Tudyk fans should prepare to be left a little more disappointed by his answer to our question about whether there’s any truth to the Internet rumours that have him playing Ant-Man in the upcoming movie adaptation of the comic books.

“I’ve heard about that, but no,” he says. “That’s a shame,” we reply, because it is. “I know, I’m a fan of ants,” he sighs empathetically. “But no.”

Don’t be too sad though. There’s still the ever-floating possibility of Firefly returning, Arrested Development-style, with Wash as a robot, a clone, and/or a hologram, right? “I really think there’s a chance that it could happen,” Tudyk reaffirms. “I think that as we go forward, as it gets cheaper to shoot in digital … yeah, I hope so. We all want it.”

…Now, how about that Dollhouse movie?! No? Fine, we might have to let that one go.

Thank you to Alan Tudyk for the great interview – and if you like Firefly, you’ll want to keep your eye on Hypable in the next couple of months, because we’ve got some very fun things planned!

Stay tuned for the final part of our interview with Tudyk, where he previews his role in 42, the upcoming movie about baseball legend Jackie Robinson.

Here are the 2017 Oscars winners and losers

8:25 pm EST, February 26, 2017

The 2017 Oscars took place Sunday night in Hollywood and found La La Land cleaning up with six wins. Here are the Academy Award winners!

ABC’s Jimmy Kimmel hosted the 2017 Oscars, which took place at the Dolby Theater. The event featured live performances of all five Oscar-nominated songs.

2017 Oscar winners list

Read full article

The 2017 Oscars took place Sunday night in Hollywood and found La La Land cleaning up with six wins. Here are the Academy Award winners!

ABC’s Jimmy Kimmel hosted the 2017 Oscars, which took place at the Dolby Theater. The event featured live performances of all five Oscar-nominated songs.

2017 Oscar winners list

Related: We asked our parents to describe the 2017 Oscar nominees

Below is a complete list of Oscar winner and losers.

2017 Oscar winner list

Note: The final winner of the night was originally announced to be La La Land, but the announcement was actually an error — Moonlight won Best Picture. Awkward.

Best Picture:
Arrival
Fences
Hacksaw Ridge
Hell or High Water
Hidden Figures
La La Land

Lion
Manchester By the Sea
Moonlight

Best Actress:
Isabelle Huppert – Elle
Ruth Negga – Loving
Natalie Portman – Jackie
Emma Stone – La La Land
Meryl Streep – Florence Foster Jenkins

Best Actor:
Casey Affleck – Manchester By the Sea
Andrew Garfield – Hacksaw Ridge
Ryan Gosling – La La Land
Viggo Mortensen – Captain Fantastic
Denzel Washington – Fences

Best Director:
Damien Chazelle – La La Land
Mel Gibson – Hacksaw Ridge
Barry Jenkins – Moonlight
Kenneth Lonergan – Manchester By the Sea
Denis Villeneuve – Arrival

Best Adapted Screenplay:
Arrival – Eric Heisserer
Fences – August Wilson
Hidden Figures – Allison Schroeder, Theodore Melfi
Lion – Luke Davies
Moonlight – Barry Jenkins

Best Original Screenplay:
20th Century Women – Mike Mills
Hell or High Water – Taylor Sheridan
La La Land – Damien Chazelle
The Lobster – Yorgos Lanthimos, Efthymis Filippou
Manchester By the Sea – Kenneth Lonergan

Best Original Song:
“Audition” – La La Land
“Can’t Stop the Feeling” – Trolls
“City of Stars” – La La Land
“The Empty Chair” – Jim: The James Foley Story
“How Far I’ll Go” – Moana

Best Score:
Jackie
La La Land
Lion
Moonlight
Passengers

Best Cinematography:
Bradford Young – Arrival
Linus Sandgren – La La Land
Grieg Fraser – Lion
James Laxton – Moonlight
Rodrigo Prieto – Silence

Best Live Action Short Film
Timecode
Sing
Silent Nights
Ennemis Interieurs
La Femme et le TGV

Best Documentary, Short Subject:
4.1 Miles
Extremis
Joe’s Violin
Watani: My Homeland
The White Helmets

Best Editing:
Arrival
Hacksaw Ridge
Hell or High Water
La La Land
Moonlight

Best Visual Effects:
Deepwater Horizon
Doctor Strange
The Jungle Book
Kubo and the Two Strings
Rogue One: A Star Wars Story

Best Production Design:
Arrival
Hail, Caesar!
La La Land
Passengers
Fantastic Beasts and Where to Find Them

Best Animated Feature:
Kubo and the Two Strings
Moana
My Life as a Zucchini
The Red Turtle
Zootopia

Best Animated Short:
Blind Vaysha
Borrowed Time
Pear Cider and Cigarettes
Pearl
Piper

Best Foreign Language Film:
Land of Mine, Denmark
The Salesman, Iran
A Man Called Ove, Sweden
Tanna, Australia
Toni Erdmann, Germany

Best Supporting Actress:
Viola Davis – Fences
Naomie Harris – Moonlight
Nicole Kidman – Lion
Octavia Spencer – Hidden Figures
Michelle Williams – Manchester By the Sea

Best Sound Mixing:
Arrival
Hacksaw Ridge
La La Land
Rogue One: A Star Wars Story
13 Hours

Best Sound Editing:
Arrival
Deepwater Horizon
Hacksaw Ridge
La La Land
Sully

Best Documentary Feature:
Fire at Sea
I Am Not Your Negro
Life Animated
O.J.: Made in America
13th

Best Costume Design:
Allied
Fantastic Beasts and Where to Find Them
Florence Foster Jenkins
Jackie
La La Land

Best Makeup and Hairstyling
Star Trek Beyond
Suicide Squad
A Man Called Ove

Best Supporting Actor:
Mahershala Ali – Moonlight
Jeff Bridges – Hell or High Water
Lucas Hedges – Manchester by the Sea
Dev Patel – Lion
Michael Shannon – Nocturnal Animals

Tags: 2017 Oscars

Arrival has been nominated for Best Picture in this year’s Oscars, but it’s Jóhann Jóhannsson’s exceptional score that might earn it a win.

Stepping off from the common trope of ‘aliens arriving on Earth,’ Arrival takes all our human expectations, examines them closely, and then subverts them with remarkable simplicity. Ultimately, it’s a story about choice: the choice to make sacrifices, to trust, to stand united.

It’s an important subject, and a timely one. Amy Adams’ portrayal of Louise Banks, a linguist called to do the ultimate translation job, is breathtaking in its realism and its vulnerability. The cinematography is stunning, and the pacing of the story takes us on a journey that, although walking the much-treaded road of sci-fi, manages to make us feel as if we are exploring entirely new territory.

Read full article

Arrival has been nominated for Best Picture in this year’s Oscars, but it’s Jóhann Jóhannsson’s exceptional score that might earn it a win.

Stepping off from the common trope of ‘aliens arriving on Earth,’ Arrival takes all our human expectations, examines them closely, and then subverts them with remarkable simplicity. Ultimately, it’s a story about choice: the choice to make sacrifices, to trust, to stand united.

It’s an important subject, and a timely one. Amy Adams’ portrayal of Louise Banks, a linguist called to do the ultimate translation job, is breathtaking in its realism and its vulnerability. The cinematography is stunning, and the pacing of the story takes us on a journey that, although walking the much-treaded road of sci-fi, manages to make us feel as if we are exploring entirely new territory.

It should come as no surprise that Arrival is being considered for Best Picture in the upcoming Academy Awards. Director Denis Villeneuve has made a name for himself with movies such as Prisoners and Sicario, known for combining raw humanity with breakneck intensity. But although Villeneuve is an extremely talented director, and is accompanied by an excellent cast, it’s Arrival’s score that succeeds in bringing all the delicate pieces of the film together in one cohesive whole… and drawing the audience in.

Jóhann Jóhannsson is an Icelandic composer that has collaborated with Villeneuve repeatedly, and received Academy Award nominations for his work on movies such as The Theory of Everything and Sicario. Unfortunately, Arrival’s score, although arguably his best work yet, is not eligible for nomination this year. In an exclusive report, Variety explained:

“The Academy’s music branch ruled unanimously that voters would be influenced by the use of borrowed material in determining the value of Johann Jóhannsson’s original contributions to Denis Villeneuve’s alien invasion psychodrama.

“Per Rule 15 II E of the Academy’s rules and eligibility guidelines, a score ‘shall not be eligible if it has been diluted by the use of pre-existing music, or it has been diminished in impact by the predominant use of songs or any music not composed specifically for the film by the submitting composer’”

With the director choosing to place Max Richter’s “On the Nature of Daylight” in the beginning and ending sequences of the film (a song which was also a part of Shutter Island’s score), Jóhannsson’s work sadly lost its chance at an Oscar nomination. According to Variety, “it was determined that there would be no way for the audience to distinguish those cues, which bookend the film, from Jóhannsson’s score cues.”

In an interview with Slash Film, Jóhannsson said that he initially wrote his own alternative to the track, while knowing that Villaneuve was considering “On the Nature of Daylight” as well, although it was very different, as he didn’t “really want to do a knock-off of the music.” Ultimately, Jóhannsson says that he supports the choice, because it “works beautifully and it supplies a very strong contrast to the rest of the score.” But it’s a pity that artistic decisions like this one can cost an exceptional composer an Oscar.

For Arrival, his ability to grip the listener with only a few sounds and rhythms, gradually building up to something of massive proportions, was perfectly harnessed once again to create something truly new. The composer told the Guardian: “People are hungry for new sounds, and for the experience of listening to unfamiliar music that you don’t hear on commercials and in every TV show.”

Composers for sci-fi movies tend to favor epic soundtracks to draw audiences into the scene and make them feel the full blow of the story’s emotions. Jóhannsson, however, entirely avoided using orchestras and sounds in the way that we’re familiar with. His quiet buildup is much more powerful. The track “First Encounter,” for example, is mysterious, ominous, and ultimately overwhelming when the sound suddenly comes to life.

“In mainstream cinema, there’s usually too much music,” he said. “In Arrival, the use of space and silence is extremely important. When music is needed, it’s really there and it serves a purpose.”

The music fits in so well that it becomes hard to know when you’re listening to the score, and when you’re listening to the scene. Both elements mesh so well together that they become nearly indistinguishable. And the quietness that is the underlying current of most tracks is a marvelous replica of human emotion — in the case of First Encounter, of what a mind in shock feels like when faced with an experience it can’t understand.

To achieve the unfamiliar sounds that surround Arrival’s alien ships and their mysterious passengers, Jóhannsson brought together vocalists and choirs, to experiment with what could be done with voices, and combining them with cellos, horns, and wood sounds. He explained to Slash Film:

“The reason I wanted voices was really motivated by the script and the story. It’s a story about communication. It’s a story about language. It’s a story about communicating with an alien species. How do we communicate with an intelligent species with who we have no common point of reference? It was this anthropological aspect, this linguistic aspect, that really influences my choice of orchestration and instrumentation.”

It makes for a truly fascinating combination of sounds. Jóhannsson somehow manages to make simple vocal exercises into music that can be anywhere between heartbreaking and heart-wrenchingly hopeful, turning vocal harmony into something almost tangible, and shedding a small ray of light into the mystery of achieving unity in diversity.

This isn’t a horror-movie score — it’s something transporting, yet ambiguous; a difficult task to achieve nowadays. With decades of listening to scores with similar patterns, it takes a lot to leave audience members in the dark about what is about to happen. We’ve become used to screeching violins meaning impending terror, to drums meaning action scenes, to lengthy orchestra pieces surrounding the climax of the film.

We’re used to hearing Hans Zimmer and John William’s epic orchestras, and while beloved and immortalized for their loveliness, they are no longer as revolutionary. We know the swelling sound of strings and the beating of drums, and we have learned to associate certain sounds with victory, and other sounds with fear.

With Jóhannsson, on the other hand, we don’t know what to expect — is the thrumming noise and the horns in the distance leading us to a scene of horror and destruction, or are we about to discover something beautiful? The score leads us into the ship itself, into the arrival, and poses the same questions with music that the movie does with words and breathtaking cinematography.

And yet, despite the unfamiliarity and ambiguity, the result is still something that feels inherently personal. It’s an emotional experience, even in the silences — a difficult task to achieve with such a minimalist style as Jóhannsson’s — and it’s marvelously memorable. It manages to do exactly what Arrival did for us as a film: draw us in with the promise of alien appearances on Earth, and then steal our hearts with the uniquely human experience of choice, trust, love and death.

Interstellar has tried to do this before — melding human vulnerability with world-defining stakes — but critics are split on whether or not it was a success. With Arrival, however, there’s no doubt that the balance between the intimate and the epic was perfectly reached; and it was because of Johann Jóhannsson.

Arrival has been nominated for Best Sound Mixing and Best Sound Mixing – the closest we’ll get to a soundtrack Academy Award — as well as Best Picture, and many others.

Jóhannsson is currently working on the score for Blade Runner 2049 (also directed by Villeneuve), which is expected to premiere this October.

Doctor Who season 10 finally has an air date and not only that, so does its spinoff, Class!

It’s time to celebrate because we finally know when we’ll see Peter Capaldi back in the T.A.R.D.I.S. as the Doctor! BBC America will premiere Doctor Who season 10 on Saturday, April 15 at 9/8c. Check out the brand new trailer promoting the series, narrated by the brand new companion, Bill:

Read full article

Doctor Who season 10 finally has an air date and not only that, so does its spinoff, Class!

It’s time to celebrate because we finally know when we’ll see Peter Capaldi back in the T.A.R.D.I.S. as the Doctor! BBC America will premiere Doctor Who season 10 on Saturday, April 15 at 9/8c. Check out the brand new trailer promoting the series, narrated by the brand new companion, Bill:

No word on if the U.K. will be seeing the same air date but it’s more than likely they will since it’s been like that in years past.

This will be Peter Capaldi’s last season as the Doctor, along with Steven Moffat’s last season running the show. After this we’ll be seeing Chris Chibnall taking the reins with a clean slate, and we’re so curious about how the series will go. How will the Doctor regenerate? Will this be Bill’s first and last season on the show as well? Who’s going to be the next Doctor? We’ve got so many questions! But they’ll all be answered in due time… we hope.

And that’s not all! Fans in the U.K. have already had the chance to enjoy the brand new spinoff series, Class, and after Doctor Who premieres on April 15 Americans will finally witness it as well.

Set to air directly after Doctor Who at 10/9c, Class is helmed by award-winning YA writer and executive producer, Patrick Ness. The series follows a group of students at Coal Hill School as they deal aliens, invasions and awkward social dilemmas.

Having seen Class in its entirety we can tell you that it’s got the perfect Doctor Who vibe and should fit in perfectly after you watch the season 10 premiere. Although not everyone loved the premiere, the series as whole definitely grows on you. You’ll just have to check it out for yourself!

Are you excited for ‘Doctor Who’ season 10?