Gareth Edwards Latest Celebrity News & Gossip

Rogue One director Gareth Edwards‘ new movie The Creator is now in theaters and it’s an epic sci-fi action thriller that will definitely have audiences excited!

Todd Gilchrist editor As costs spiral upward for production infrastructure, visual effects and good old fashioned star wattage, blockbuster budgets tend to be one of the closely guarded secrets in Hollywood. Yet in the weeks and months leading to the release of “The Creator,” due Sept.

Flashback looks back on fascinating stories or artifacts of the past, not necessarily tied to today’s news but still relevant and sometimes extra-significant in relation to today’s ever-evolving context. As we all know, “Rogue One: A Star Wars Movie” underwent major reshoots, apparently to salvage the film.

Hopefully three wide releases can wake up what’s been a relatively sleep time at the box office, ratcheted down by the SAG-AFTRA strike. With New Regency/20th Century Studios/Disney’s original Gareth Edwards sci-fi movie The Creator, Paramount and Spin Master’s PAW Patrol: The Mighty Movie, and Lionsgate’s Saw X, the top three movies look to make around $45M. All three of them are vying for No. 1 with a high teens take, however, it’s likely a two-way race between PAW Patrol 2 and The Creator since both pics have had the loudest marketing campaigns, and Lionsgate usually executes their smaller budgeted movies on the cheap.

Jordan Moreau Move over, Barbenheimer, it’s time for Saw Patrol. This weekend sees the releases of four major movies, including Paramount’s family friendly “PAW Patrol: The Mighty Movie,” Lionsgate’s gory, R-rated “Saw X,” 20th Century’s sci-fi epic “The Creator” and “Sony’s GameStop stock story “Dumb Money.” “PAW Patrol” is expected to come out on top with an estimated $18 million to $20 million opening, but “Saw X” will be right on its tail with an estimated $15 million to $18 million. However, some projections go as high as $20 million to $25 million, overtaking the “PAW Patrol” pups.

“No one is really creating original sci-fi blockbusters anymore, it’s an endangered species.”

Gareth Edwards returns to theaters this weekend with “The Creator,” a sci-fi epic that’s his first feature since 2016’s “Rogue One: A Star Wars Story.” But is a return to big-budget blockbuster filmmaking for the director? Kind of, sort of, but not quite. “The Creator” boasts an $80 budget, still a hefty price tag these days, but mild in comparison to the estimated $265 million for “Rogue One” and the $160 for Edward’s 2014 film “Godzilla.” READ MORE: ‘The Creator’ Final Trailer: Gareth Edwards’ Sci-Fi Epic About The War Between Humans & A.I.

So, filmmaker Gareth Edwards is doing the interview round for his latest sci-fi extravaganza, “The Creator,” starring John David Washington. It’s a movie heavily indebted to “Blade Runner,” “Apocalypse Now,” and even “Star Wars” (read our review here).

A familiar mélange and pastiche of sci-fi-tropes you’ve seen and felt before, filmmaker Gareth Edwards’ science-fiction drama, “The Creator,” is recognizable but, nonetheless, largely compelling— skillfully understanding the crucial balance of blockbuster scale and grounding character intimacy. Its intriguing examination of what constitutes a sentient being—coupled with its aesthetic mix of lo-fi, gritty, and grimy tech blended with sleeker, cleaner, and austerely traditional visual references to the future— makes for an engaging experience clearly designed for the big screen.

Clayton Davis Senior Awards Editor Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony Awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages reflect the current standings in the race and do not reflect personal preferences for any individual contender. As other formal (and informal) polls suggest, competitions are fluid and subject to change based on buzz and events.

Peter Debruge Chief Film Critic The creator of “The Creator,” Gareth Edwards, started his filmmaking career teaching himself VFX at home. He’s an innovator on that front, devising ways to generate creepy CG monsters for “Monsters” more than a dozen years ago, then overseeing deceptively massive blockbusters, like “Godzilla,” ever since (deceptive because much of that stunning scale comes from virtual detail added in post).

Director, Producer, and Co-Writer (with Chris Weitz) Gareth Edwards (Monsters, Godzilla, Rogue One: A Star Wars Story) has been working on his idea for an original science fiction tale involving human interaction with advanced AI childfor many years. Now that The Creator is finally reaching the screen I would say it is more like science fact, or at least a plausible facsimile. With recent warnings from Silcon Valley leaders about imminent dangers with the alarming speed of AI progress, and all the talk (especially with the guild strikes) about the threat of AI technology invading and possibly even shifting out of our control in frightening ways, Edwards has cooked up a hell of a story in which AI just might be the good guys – or robots as it were – in a world where humans could be losing the upper hand.

Naman Ramachandran Disney’s Agatha Christie adaptation “A Haunting in Venice” stayed atop the U.K. and Ireland box office for the second successive weekend with £1.4 million ($1.8 million), per numbers from Comscore. The film, directed by Kenneth Branagh, where he plays detective Hercule Poirot, now has a total of £4.9 million after two weekends in release.

He’s captivated our imaginations with iconic monsters and futuristic space battles, using a symphony of light, scale, sound, and mastery over visual effects. Oh, and he really knows how to make Darth Vader scary.

Gareth Edwards directed his first movie, the 2010 indie “Monsters,” it could scarcely have been a more DIY endeavor. He had less than $500,000 to tell an intimate story about two Americans contending with giant aliens rampaging through Mexico, so his crew consisted of just his actors (Scoot McNairy and Whitney Able), a sound tech, a line producer, a translator and a driver.

Throughout an entire junket day as well as a special screening tonight at the TCL Grauman Chinese Theatre, The Creator filmmaker Gareth Edwards showed his solidarity for the pic’s cast as the SAG-AFTRA strike continued into its 67th day.

The 2023 Beyond Fest lineup is set. America’s biggest genre-focused festival is returning this month with a 55-film slate that includes a Roger Corman career celebration, special screening of The Abyss with James Cameron, the world premiere of Legendary’s It’s a Wonderful Knife and much more.

Even though Gareth Edwards broke out with his debut feature, “Monsters,” back in 2010, we really don’t know too much about him, as a filmmaker. He followed that film up with “Godzilla” in 2014, which was fairly well received, but it’s his third film, “Rogue One: A Star Wars Story” that most people remember him from.

One of the most anticipated sci-fi film of 2023 — particularly now, with “Dune: Part Two” having been pushed back to 2024 — has got to be Gareth Edwards‘ latest feature,”The Creator.” Edwards’ first film since 2016’s “Rogue One” Lucasfilm movies, this new thriller is set in the year 2070, in the midst of a war over the future of artificial intelligence.

Gareth Edwards, the director, producer and co-writer of The Creator, is opening up about the timing of the release of his film that draws parallels to the fight between SAG-AFTRA and WGA members against the studios.

Sure, this time of year, everyone is thinking about the prestigious fall festival events, such as TIFF, Venice, Telluride, NYFF, etc.. However, what they’re forgetting is the sheer madness and joy that comes with visiting Fantastic Fest in Austin.

Sure, this time of year, everyone is thinking about the prestigious fall festival events, such as TIFF, Venice, Telluride, NYFF, etc.. However, what they’re forgetting is the sheer madness and joy that comes with visiting Fantastic Fest in Austin.

20th Century Studios has unveiled a premiere date and first look photo for its sci-fi psychological thriller No One Will Save You starring Emmy and Golden Globe nominee Kaitlyn Dever (Dopesick), announcing that it will premiere exclusively on Hulu in the U.S., Star+ in Latin America and Disney+ in all other territories on September 22nd.

New Regency said today it’s closed a $175 million term loan from global investment firm Carlyle Group, providing new capital for the indie to scale up production. The loan is a refinancing and upsize of an existing Carlyle facility.

Humans go to war with robots in the action-packed new trailer for “The Creator”.

Obviously, it takes years for feature films to get developed, written, filmed, and then released. And though artificial intelligence has been a topic of sci-fi films for years, it feels like there is no better time than now to release a film about rogue A.I.

Patrick Frater Asia Bureau Chief Major Japanese studio Toho Co. has announced “Godzilla Minus One” as the title of the latest instalment in its “Godzilla” film franchise. The film will premiere in Japanese theaters on Nov. 4. A U.S. release is set a few weeks later, on Dec. 1. The company revealed an understated poster and a short but punchy teaser trailer. It suggests that an already-devastated postwar Japan faces a new threat in the form of Godzilla, an enormous, mutated kaiju. Directed by sci-fi and fantasy specialist Yamazaki Takashi, the picture is the first Japanese-produced “Godzilla” movie since 2016’s “Shin Godzilla.” The previous picture topped the Japanese box office, earning JPY25 billion ($181 million at current exchange rates).

Just as he redefined the legal drama with the Oscar-winning movie Michael Clayton, Tony Gilroy has made arguably the most serious Star Wars streaming series to date in Disney+/Lucasfilm’s Andor, which is steeped in the binary of a burgeoning morose utilitarian empire that’s dominating the denizens of the universe.

Gareth Edwards hasn’t directed a film in seven years. There could be a number of reasons why, but unfortunately for him, his last film, “Rogue One: A Star Wars Story,” was shrouded in controversy as it was heavily reported that Edwards was effectively replaced midway through production by Tony Gilroy because the former’s first cut of the film was a mess.

It’s already been an eventful week for Walt Disney Studios. The long-promised layoffs hit the company’s theatrical divisions yesterday and this morning Disney filed a lawsuit against Florida Gov.

was there in Disney’s showcase was a demonstration of the studio’s plans to diversify its theatrical offerings. While the likes of Marvel and Pixar are still around to offer family films and IP-fueled blockbusters, 20th Century Studios and Searchlight got a much larger presence than they’ve had in past CinemaCons since the Disney acquisition.

20th Century Studios/New Regency’ Gareth Edwards directed movie, True Love, has had a title change to The Creator. The release date has been moved up from Oct. 6 to Sept. 29.

“Godzilla vs. Kong” series, that initially started with the 2021 feature of the same name directed by Adam Wingard (“The Guest”). We don’t get much in 35-seconds but we do get a shot of King Kong himself on his throne, surrounded by the bones of, no doubt, a legion of enemies.

For those who remember, 2016’s “Rogue One: A Star Wars Story” had a bit of a troubled production.  Gareth Edwards directs the film, but Disney brought in Tony Gilroy, already an uncredited writer on the movie, to do reshoots. Now Freddie Prinze Jr., voice actor of Kanan Jarrus on “Star Wars Rebels,” has a bold claim.

Star Wars instalments is London. Londoners who watch Star Wars: Andor on Disney+ might even recognise a few of the places they see in the background. Far from being on another planet, the filming is actually done at Canary Wharf Underground Station, along the London Docklands.

“Andor” Episode 4 just debuted on Disney+ in the “Star Wars” series’ second week of release (the first three episodes were dropped on premiere day), and more than anything, this installment of the series cements that the new show is a very different approach to a galaxy far, far away. And that, according to showrunner Tony Gilroy, was entirely by design.“Andor” follows the radicalization of Cassian Andor (Diego Luna), who we last saw giving his life for the nascent Rebellion in “Rogue One.” The show eschews the almost videogame-like plotting of Lucasfilm’s breakout series “The Mandalorian” for something grittier and earthier; textures feel tactile; characters feel troubled and broken, they look for their way and move in with their parents; dialogue is emphasized.