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Andrew Dominik Says Brad Pitt Is the Reason He Gets Out of ‘Director Jail,’ Not Wanting to Make ‘Bedtime Stories’
“I spend a lot of time in director jail, then my friend Brad Pitt comes down and talks to the parole board and convinces them to let me out. Then I just go out and re-offend again, I’m incorrigible,” said director Andrew Dominik when speaking to an audience at the Red Sea Film Festival about why he doesn’t get the chance to direct as often as he would like.
Among the plethora of talent in attendance were Helena Bonham Carter and “Doctor Who” showrunner Russell T. Davies, both there to promote their new scripted show “Nolly” (pictured above), Margarita Levieva, who stars alongside David Tenant in thriller “Litvinenko,” “Riches” showrunner Abby Ajayi and Vicky McClure, who stars in “Without a Sin,” a drama about a woman confronting her daughter’s murderer. Also on hand were top ITVX execs, including ITV content boss Kevin Lygo while earlier that day a select group of journalists and advertisers were invited to see a demo of the service.
Meesha Garbett doesn’t think she’s a rebel. In all honesty, the 14-year-old isn’t even sure she’d call herself a professional dancer. That is at least, not yet. From the small town of Telford in Shropshire, England, Garbett tells Rolling Stone she’s been dancing since she was three, which has allowed her to pick up choreography easily. That skill has manifested into some major credits for the young actress and dancer, including parts in a George Ezra music video, Jingle Jangle, and the theatrical version of Cats. But her biggest role yet has already been making waves weeks before its U.S debut: the upcoming Netflix movie Roald Dahl’s Matilda The Musical (based on the West End musical and the 1988 book by Roald Dahl, but not the 1996 film). On the cast list, you’ll see Garbett’s name by Hortensia. But on TikTok, she’s known as Red Beret Girl.
This is a carousel. Use Next and Previous buttons to navigate. In one of the more effective moments of “Spoiler Alert,” the camera does something unexpected and wise: it leaves the room. At the very moment a dining-table conversation becomes unbearably painful, the viewer is moved outside, where we can only watch the characters in shadows through a window, hearing nothing.