David Hemingson Latest Celebrity News & Gossip

After 25 years of writing in Hollywood, David Hemingson is having a moment. A writer and producer on television shows such as “Just Shoot Me!,” “American Dad,” the cult favorite “Don’t Trust the B—- in Apt.

Oscar nominated film The Holdovers has been accused of plagiarism.

that were obtained by Variety.The screenwriter alleges in the missives that “The Holdovers” director Alexander Payne likely read a script for his eerily similar movie “Frisco” when it made the rounds around Hollywood in 2013 on the industry’s “black list” of most like scripts, where it peaked at number three.“The evidence the holdovers screenplay has been plagiarised line-by-line from “Frisco” is genuinely overwhelming – anybody who looks at even the briefest sample pretty much invariably uses the word ‘brazen,’” Stephenson wrote in the email he sent to the WGA’s director of credits Lesley Mackey, after speaking with him about the movies’ similarities.“Frisco” is a drama that follows a cranky children’s hospital worker who gets stuck watching after his 15-year-old student — similar to how Paul Giamatti plays a prep-school classics teacher who spends a Christmas break a troubled teen, played by Dominic Sessa, and the school’s cafeteria manager, played by Da’Vine Joy Randolph.Stephenson meticulously compared the two films scene by scene as well as important sequences and dialogues. He alleges Payne reviewed the Frisco script in 2013 and had it again in late 2019 before he approached first-time film writer David Hemingson about “The Holdovers.” Hemingson also received producing credits on the movie.In a Feb.

Simon Stephenson sent an email to the Writers Guild of America’s senior director of credits Lesley Mackey asking to set up a call to discuss an important matter. The CAA-repped writer, whose credits include Pixar’s “Luca” and StudioCanal’s “Paddington 2,” wrote, “I’ve encountered a credits-related issue on quite a high profile WGA-covered project.” According to the email exchange reviewed by Variety, a call between the two took place, and, in a follow-up missive, Stephenson wrote, “the evidence the holdovers screenplay has been plagiarised line-by-line from frisco is genuinely overwhelming – anybody who looks at even the briefest sample pretty much invariably uses the word ‘brazen.’” Stephenson was referring to his own screenplay “Frisco,” a drama centered on a world-weary middle-aged children’s doctor and the 15-year-old patient he gets stuck looking after, and David Hemingson’s “The Holdovers” — a drama revolving around a world-weary middle-aged boarding school teacher and the 15-year-old pupil he gets stuck looking after.

The Holdovers collaborators, director Alexander Payne and screenwriter David Hemingson, are working on another film together—a Western, in fact—and during a Q&A following a screening of The Holdovers at Soho House in West Hollywood on Friday, Hemingson revealed there’s a part earmarked for Paul Giamatti.

Deadline has launched the streaming site for Contenders Film: The Nominees, the Oscar nominees panel showcase that took place Saturday.

“It genuinely feels like things are happening in real time.”

As we race to the Oscar finish line, it has certainly been a year to remember. The movie business all but shook off the last vestiges of the Covid era with the phenomenon that was Barbenheimer — collectively, Barbie and Oppenheimer earned more than $2 billion globally at the box office. Not only is cinema alive and kicking, but both of those box office behemoths are Oscar-nominated for Best Picture.

On her first feature film try, Celine Song struck gold with the time-hopping romantic drama Past Lives.

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER “Blue Bag Life” — Lisa Selby (Director), Rebecca Lloyd-Evans (Director, Producer), Alex Fry (Producer) “Bobi Wine: The People’s President” — Christopher Sharp (Director) [also directed Moses Bwayo] “Earth Mama” — Savanah Leaf (Writer, Director, Producer), Shirley O’Connor (Producer), Medb Riordan (Producer) “How to Have Sex” — Molly Manning Walker (Writer, Director) “Is There Anybody Out There?” — Ella Glendining (Director) ORIGINAL SCREENPLAY “Anatomy of a Fall” — Justine Triet, Arthur Harari “Barbie” — Greta Gerwig, Noah Baumbach “The Holdovers” — David Hemingson “Maestro” — Bradley Cooper, Josh Singer “Past Lives” — Celine Song ADAPTED SCREENPLAY “All of Us Strangers,” Andrew Haigh “American Fiction,” Cord Jefferson “Oppenheimer,” Christopher Nolan “Poor Things,” Tony McNamara “The Zone of Interest,” Jonathan Glazer FILM NOT IN THE ENGLISH LANGUAGE “20 Days in Mariupol” — Mstyslav Chernov, Raney Aronson Rath “Anatomy of a Fall” — Justine Triet, Marie-Ange Luciani, David Thion “Past Lives” — Celine Song, David Hinojosa, Pamela Koffler, Christine Vachon “Society of the Snow” — J.A. Bayona, Belen Atienza “The Zone of Interest” — Jonathan Glazer ANIMATED FILM “The Boy and the Heron” — Hayao Miyazaki, Toshio Suzuki “Chicken Run: Dawn of the Nugget” — Sam Fell, Leyla Hobart, Steve Pegram “Elemental” — Peter Sohn, Denise Ream “Spider-Man: Across the Spider-Verse” — Joaquim Dos Santos, Kemp Powers, Justin K.

Lots of celebs stepped out to attend the National Board of Review’s 2024 Awards Gala and we have all the red carpet photos!

Amid the flood of awards-season nominations comes AARP, whose Movies for Grownups Awards noms arrived today. Oppenheimer leads the way with six mentions, followed by Killers of the Flower Moon with five. Both will vie for Best Picture alongside Barbie, The Color Purple and Maestro.

The National Society of Film Critics 58th annual awards has honored Celine Song’s directorial debut Past Lives for its top prize, beating out runners-up Oppenheimer and The Zone of Interest for Best Picture.

Stuart Miller Da’Vine Joy Randolph had grown weary of scripts that offered her shallow or one-dimensional characters. “I’ve felt like I had to fight for fully realized characters with complexities or even start writing or producing myself,” she says. Then she was sent David Hemingson’s script for “The Holdovers,” for the role of Mary Lamb, who works in the cafeteria of a prep school for the wealthy, soldiering on even as she mourns the death of her sonin Vietnam. “I was so overjoyed to read this character, someone who was really struggling, but also trying to persevere in spite of her situation,” says Randolph, who was nominated for a Tony Award in 2012 for her performance in “Ghost: The Musical.” She has since appeared in everything from “Dolemite Is My Name,” “High Fidelity” and “Only Murders in the Building” to “The United States vs.

Alexander Payne’s 3x Golden Globe nominated, 8x Critics Choice nominated dramedy The Holdovers will stream on Peacock on Friday, Dec. 29.

Ethan Shanfeld Alexander Payne’s bittersweet Christmas dramedy “The Holdovers” is hitting Peacock on Dec. 29.

Back in 2004, during a press tour for Sideways — Alexander Payne’s wine-soaked buddy movie starring Paul Giamatti as a depressive divorcé — the filmmaker and the actor were in Omaha in front of an audience.

Jazz Tangcay Artisans Editor Alexander Payne calls editor Kevin Tent his filmmaking partner. The two first met running in the same L.A. film school circles.

Martin Scorsese‘s Western historical epic Killers of the Flower Moon on Wednesday was named Best Film by the National Board of Review, the second major awards honor for the Apple Original Films pic this week after it also won the top prize from the New York Film Critics Circle.

In case you were wondering, there was no beef between Paul Giamatti and Alexander Payne. The actor and filmmaker collaborated on 2004’s “Sideways,” an art-house breakout that earned over $100 million worldwide and five Oscar nominations including Best Picture (Payne and Jim Taylor won for Adapted Screenplay).

In a super weekend for specialty, Saltburn had a lofty open on seven screens and The Holdovers a nice $2.7 million in a major week-three expansion that put it at no. 6 at the domestic box office. Actors are once again out promoting their films and indie/original fare continues to benefit from fewer studio releases in the aftermath of the SAG-AFTRA strike.

Savina Petkova Hollywood might have ground to a halt in recent months during the recent labor strikes, with the role of artificial intelligence in the moviemaking business a key stumbling block between studio bosses and both the writers and actors guilds. But two-time Academy Award winner Alexander Payne (“Sideways”) quipped at the Thessaloniki Film Festival this week that when it comes to AI, he’s all for it. “If AI could write a script for me, I would be so happy,” Payne joked.

Born in Omaha, Nebraska, to two parents of Greek heritage, two-time Oscar winner Alexander Payne was awarded Greek citizenship last year around the time he was working on his latest feature, The Holdovers. 

Independents are out in force with high-profile fall festival fare from Pricilla to The Holdovers, a big Viva Pictures push with Inspector Sun (voiced by Ronny Chieng), Cannes documentary winner Four Daughters and Waikiki, the debut feature by Hawaiian filmmaker Christopher Kahunahana. the first homegrown feature to be shown there.

Clayton Davis Senior Awards Editor Ava DuVernay‘s moving drama “Origin,” which tells the story of author Isabel Wilkerson’s journey to write her famous nonfiction novel “Caste: The Origins of Our Discontent,” is the latest film to be making the switch from an adapted screenplay run, to original. Deemed an original screenplay by the Writers Guild of America, the announcement comes after Variety reported “Barbie” from Greta Gerwig and Noah Baumbach and “The Bikeriders” by Jeff Nichols, were also deemed original by the WGA.

Filmmaker Alexander Payne (“Sideways,” “The Descendants,”) recently held a Q&A session during the Lumière Film Festival in Lyon, France (via Variety), with Los Angeles-based French film journalist Didier Allouch overseeing that conversation. Payne gave the French audience a big tease about what he’s currently working on, which could allow him to tackle a dream film genre.

Usually, it’s the Adapted Screenplay category that is super-competitive and the Original category that’s completely wide open.

Jaden Thompson The Newport Beach Film Festival, which will run from Oct. 12-19 this year, has announced their opening and closing night films. Marco Perego’s “The Absence of Eden,” which stars Zoë Saldana, will open the festival on Oct.

the atomic bomb, a revisionist doll and CGI Harrison Ford have gobbled up our attention, for better or worse, but not because any of those varied titles have much heart.Then there’s the “The Holdovers,” directed by Alexander Payne, which is set during frigid Christmastime at a Northeast boarding school that’s nearly empty of students. The lovable dramedy, which just screened at the Toronto International Film Festival, is blanketed in snow and ice — and it’s the warmest cinematic experience you’ll have all year. Running time: 133 minutes.

Clayton Davis Senior Awards Editor Two-time Oscar winner Alexander Payne returns to the big screen with his entertaining and crowd-pleasing film “The Holdovers” which debuted at the Telluride Film Festival on Thursday night, where he was in-person to introduce. With a 1970s aesthetic, a sharp script by David Hemingson, and a trio of exquisite performers, the film feels like the slam-dunk Oscar contender the establishment members of the Academy can get behind. “The Holdovers” reunites Payne with his “Sideways” star Paul Giamatti.

Thank god for Alexander Payne. The filmmaker is, and always have been, a true humanist. A writer/director more interested in human beings, something that has always been the special effect of his movies. A two-time Oscar winning writer, his latest film, The Holdovers, which had its World Premiere Thursday at the Telluride Film Festival, is one of the rare movies in which he doesn’t also have a writing credit. David Hemingson did the screenplay, but the idea, an inspired one, came from Payne, a real film buff who was always intrigued by Marcel Pagnol’s 1935 French film Merlusse about a group of boarding school students stuck over the holidays with a much-despised teacher. The director thought it had the bones for a new story and developed with Hemingson. Still, set in 1970, it is Payne’s first period film after a celebrated career for movies like Sideways, The Descendants, and many others. He has made some contemporary classics, no doubt, but the warm humanity of a trio of people left alone at Christmas in a snowy boarding school, ranks right up there with his very best. It is funny, sad, witty, poignant, filled with snark and heart and great acting. It also manages to be a film set at the holidays that offers something truly new for the genre, and also delightfully not only evokes the period in which it is set, it also purposely looks like a movie made then.

Peter Debruge Chief Film Critic We’ve all seen our share of stories about inspirational teachers. “The Holdovers” is dedicated to the opposite sort: a hard-ass named Paul Hunham whom everyone hates. The feeling is mutual, as Mr.

Rebecca Rubin Film and Media Reporter Alexander Payne’s comedy “The Holdovers” is landing in theaters in time for Thanksgiving. Focus Features will begin rolling out the film on Nov. 10 in select markets before expanding nationwide on Wednesday, Nov. 22, ahead of Turkey Day. It’ll play in theaters alongside Disney’s animated adventure “Wish,” which debuts on the same day, as well as “The Hunger Games: The Ballad of Songbirds and Snakes” and Universal’s “Trolls 3,” which open the week prior. “The Holdovers” reunites Payne with Paul Giamatti for the first time since their 2004 Oscar-winning film “Sideways.” In the upcoming movie, Giamatti plays a curmudgeonly instructor at an elite New England prep school who is forced to remain on campus during Christmas break to babysit the students with nowhere to go. He eventually forms an unlikely bond with a damaged, brainy troublemaker (played by newcomer Dominic Sessa) and the head cook (portrayed by Da’Vine Joy Randolph).

Angelique Jackson The hottest sales title at the Toronto Film Festival is officially off the market, with Focus Features landing worldwide distribution rights to Alexander Payne’s “The Holdovers,” in a deal worth roughly $30 million. Paul Giamatti stars in the Christmas-themed film that reunites the actor and director for the first time since their Oscar-winning 2004 hit “Sideways.” It will hit theaters in Christmas 2023. In “The Holdovers,” Giamatti portrays Paul Hunham, a universally disliked professor at a prep school called Deerfield Academy. With no family and nowhere to go around the holidays in 1970, he stays on campus to supervise students who couldn’t go home. After a few days, only one person is left: a troublemaking 15-year old named Angus, a good student whose bad behavior always threatens to get him expelled. Along with the school’s head cook Mary (Da’Vine Joy Randolph), whose own son was recently lost in Vietnam, the three form an unlikely bond as they spend Christmas together during two very snowy weeks in New England. The cast also includes Carrie Preston, Gillian Vigman and Tate Donovan. David Hemingson wrote the film’s script script.

EXCLUSIVE: The biggest deal ever made at Toronto will be on a film that is not in the Toronto Film Festival roster. I’m hearing that Focus Features is tying up a $30 million worldwide rights deal with Miramax’s Bill Block and CAA Media Finance for The Holdovers, after a discreet screening here for buyers held Sunday. Focus will give the film a theatrical release, and Middle East is the only turf not covered in the deal. The film marks the reteam between director Alexander Payne and Paul Giamatti, who teamed memorably in the 2004 wine-tasting road trip comedy Sideways, a film that won Payne and Jim Taylor Oscars for Best Adapted Screenplay. David Hemingson wrote The Holdovers script.

EXCLUSIVE: Emmy winner Carrie Preston (The Good Fight) has signed on to star alongside Paul Giamatti and Da’Vine Joy Randolph in the Miramax film The Holdovers, from two-time Oscar winner and seven-time nominee Alexander Payne (Nebraska, The Descendants).