Netflix announces plans to adapt Roald Dahl stories

Charlie and the Chocolate Factory among titles snapped up by streaming giant

Beloved Roald Dahl classics including Charlie and the Chocolate Factory; Esio Trot; the Twits and The BFG are set to get the Netflix treatment next year, with the streaming giant and the author’s estate announcing a slew of animated adaptations and plans for a “story universe” that would go beyond Dahl’s published work.

On Tuesday, Netflix confirmed it had secured the rights for Charlie and the Chocolate Factory; the sequel Charlie and the Great Glass Elevator’ The BFG – most recently adapted by Steven Spielberg in 2017 – The Twits; Matilda; George’s Marvellous Medicine; Boy: Tales of Childhood; Going Solo; The Enormous Crocodile; The Giraffe and the Pelly and Me; Henry Sugar; Billy and the Minpins; The Magic Finger; Esio Trot; Dirty Beasts; and Rhyme Stew.

Not included in the deal are novels such as James and the Giant Peach; Danny the Champion of the World; or Fantastic Mr Fox, which was most recently adapted in an animated film by Wes Anderson in 2009 [ . . . ]

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Watership Down Photos Unveiled as Rosamund Pike Joins Voice Cast

A few more rabbits just moved into “Watership Down.” Rosamund Pike, Peter Capaldi, Gemma Chan, and Taron Egerton are all lending their voices to BBC and Netflix’s upcoming adaptation of Richard Adams’ enduring novel, which was previously made into a notoriously upsetting movie in 1978. The four new cast members are joining the previously announced James McAvoy, Daniel Kaluuya, Nicholas Hoult, Ben Kingsley, John Boyega, Gemma Arterton, Olivia Colman, and Tom Wilkinson; also involved is Sam Smith, who’s performing an original song called “Fire to Fire” for the soundtrack [ . . . ]

Continue reading at INDIEWIRE: Watership Down Photos Unveiled as Rosamund Pike Joins Voice Cast | IndieWire

Graham Coxon talks ‘The End of the F***ing World’ soundtrack

Blur guitarist Graham Coxon speaks to NME about his work on the soundtrack of hit Netflix and Channel 4 show ‘The End of the F***ing World’

Netflix dark comedy The End Of The F***ing World has been this year’s massive breakthrough hit, featuring the most loveable teen misanthropes since Richard Ayoade’s Submarine. Just like Alex Turner’s memorable score for that 2010 film, Graham Coxon has delivered a soundtrack for End Of The F***ing World that delves into the show’s very core: at times angsty, other moments carefree and all the while bewitching.

With Coxon recently releasing the soundtrack digitally (a vinyl release is scheduled for March), he spoke to NME about working on the score, plus upcoming solo material and – of course.

Did you ever think the show would become such a hit?

“I had no idea. I know why I like it but I like all kind of things that no one else likes. It’s not something you can always judge subjectively. People can get obsessed with that kind of stuff and identify with the characters. Obviously I’m not a teenager, it’s not like I can identify so much with the characters but I remember when I was a teenager being the same.

“There’s the characters themselves, for me when I first watched them, they weren’t really likeable. Like there is this ungrateful, gobby girl and then there is this really weird boy who speaks in a detached way. But of course people do identify with it, that’s what is good about it. After series one I liked the characters more, and that inspired me more and more. They got a lot nicer and funnier and the boy went less weird. Characters go through a gradual change which you hardly notice. You suddenly think ‘I really like those people’. So it’s more and more exciting.” [ . . . ]

Continue at: Graham Coxon talks ‘The End of the F***ing World’ soundtrack, solo music and Blur – NME

End of the Fucking World Review 

“The End of the F***cking World” is a near-perfect Netflix binge and, in all likelihood, an intolerable traditional television experience. Through three episodes, the adaptation of Charles Forsman’s comic book series comes across as a pointless odyssey copping themes and plot points from other, better stories: That “Bonnie & Clyde” is directly referenced does little to pique interest in the lead characters, James and Alyssa, as they embark on an unprompted road trip-turned-crime spree across England.But then it clicks: A relatively late turn — over an hour into the two-and-a-half-hour series — provides a much-needed sense of purpose, and suddenly “The End of the F***ing World” becomes a darkly compelling journey of self-discovery and adolescent confusion. James develops into more than a disturbed wannabe serial killer; he’s a confused kid trying to cope with pain the only way he knows how. Alyssa isn’t an uncaring, self-destructive disruptor, but a child acting out to get the attention she actually needs.

That their relatable motivations comes out at the same time the two alienated and alienating leads start acting a bit nicer to one another may lead to a misunderstanding: The first half(-ish) of “The End of the Fucking World” (we’re done bleeping the name, thank you) isn’t frustrating because the characters are unlikable; it’s difficult because everything feels forced. The world turns bleak to accommodate their own bleakness; bad people lurk around every corner; darkness is definitely defeating the light.

Once we understand a bit more about their decision-making, the show opens up and starts to flow in a more natural manner. It’s fascinating, fresh, and exposes the viewer to surprising emotional depths. The ending is almost antithetical to the beginning, in that it feels authentic and inevitable while the beginning feels artificial and quirked up. (Before you understand where the story is going, so many early scenes feel designed solely to provoke, rather than inform and drive the story.)

And that ending is already a point of controversy. The series aired in October 2017 across the pond (on Channel 4 in the U.K.), and it’s stirring up discussion in the States now that “The End of the Fucking World” is popping up in Netflix queues. Below, we’ll dig into the events leading up to a surprising, satisfying finale, but if you’re not there yet, just know this:

“The End of the Fucking World” is worth sticking with (unless you’re utterly intolerant of animal abuse, which is a persistent theme). Even if you’re not immediately engrossed — and who knows, you very well could be — keep going to discover what’s got everyone talking. Then come back and keep reading [ . . . ]

Continue reading at: End of the Fucking World Review (Netflix): Let’s Talk Endings—Spoilers | IndieWire

The End of the F***king World’s Alyssa May Be the Best Teen Heroine of 2018

Breakout star Jessica Barden digs into her surprising Netflix series, why she’s thrilled Alyssa stole that underwear, and what she hopes to see if there’s a second season.

Six years ago, Jessica Barden sauntered into a dance studio to audition for The End of the F***king World, a short film adapted from Charles Forsman’s graphic novel about two high-school oddballs who steal a car and get the hell out of their humdrum hometown. Barden was after the female lead, Alyssa, all outward confidence and bravado concealing a cache of confusion and vulnerability.

“I shaved my hair off the year before for another job, and I was in the process of growing it out. I had what I now lovingly refer to as a mullet,” Barden, now 25, tells Vanity Fair matter-of-factly by phone. Upon entering the room, she spotted a pole and broke out into impromptu dance in front of her potential employers. (“What else was I supposed to do? It felt very natural.“) She also shared an idea she’d been mulling for a movie, about a girl who grows up in a brothel and becomes a country music star. Of all the actresses director Jonathan Entwistle and producer Dominic Buchanan saw that day, Barden was the only to dance and discuss a feel-good movie involving prostitution during her audition.

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