The 52-year-old half-Cuban American actor has signed with Creative Artists Agency (CAA).
Cannavale has moved from WME, after just opening alongside Ana De Armas at the Venice Film Festival in the Andrew Dominik-directed Blonde.
He next will star in Gracie Otto’s Seriously Red, and opposite Robert De Niro in the Tony Goldwyn-directed Inappropriate Behavior.
Cannavale has had memorable turns in projects from Martin Scorsese’s The Irishmanto Boardwalk Empire, Motherless Brooklyn, I, Tonya, Ant-Man, The Station Agentand many others.
In television, Cannavale will next star in Ryan Murphy’s limited series The Watcherwith Naomi Watts. He was recently seen in Hulu’s limited series Nine Perfect Strangers, alongside Nicole Kidman and Melissa McCarthy. His other TV credits include Homecoming, Angie Tribeca, Mr. Robot, Master of None, Nurse JackieandVinyl.
On the stage, Cannavale is a two-time Tony Award-nominee for Mauritius and The Mother F*cher With The Hat. A member of the LAByrinth Theater Company, the New Jersey-born Cannavale last appeared on stage in the 2020 production of Medeaat The Brooklyn Academy of Music.
The 52-year-old half-Cuban American actor and two-time Emmy-winner will star in Dave and John Chernin’s Incoming, which has begun production in Los Angeles.
In addition to Cannavale, the ensemble cast also includes Kaitlin Olson, Scott MacArthur,Raphael Alejandro, Isabella Ferreira, Ali Gallo, Loren Gray, Ramon Reed and Bardia Seiri.
All of them join previously announced Mason Thames
The Chernin brothers co-wrote the screenplay and are making their directorial film debut on the Artists Road and Spyglass Media production.
Incoming follows four incoming freshmen as they navigate the terrors of adolescence at their first-ever high school party.
Cannavale recently starred in the Rose Byrne produced Australian comedy Seriously Red, which made its world premiere at SXSW.
He stars in the upcoming Netflix movie Blondeopposite Ana de Armas.
His series credits include Boardwalk Empire, Will & Grace, Nine Perfect Strangers, Mr. Robot and Vinylamong several others.
On the big screen he’s starred in Sing 2, the Ant-Man franchise, The Irishman, I, Tonya; Blue Jasmine, The Other Guys and Paul Blart: Mall Cop. Cannavale won an Emmy in Best Supporting Actor Drama Series for Boardwalk Empire, and Guest Comedy Actor for Will & Grace.
Alejandro stars on Acapulco, and his credits include Kindergarten Cop 2, How to Be a Latin Lover, Once Upon a Timeand The Boss Baby 2: Family Business. He is repped by Paradigm and Atlas Artists.
Ferreira’s credits include Love, Victorand Orange Is the New Black.
Gallo has been seen on Unhuman, The Sex Lives of College Girls, and Virtual Mortality.
The 51-year-old half-Cuban American actor will star in the original comedy film Old Dads.
Written, directed and co-starring comedian/actor Bill Burr, the film centers on a middle-aged father (Burr) and his two best friends (Cannavale and Bokeem Woodbine) who after selling their company to a millennial, find themselves out of step and behind the times as they hilariously struggle to navigate a changing world of culture, career and fatherhood.
Burr and Ben Tishler penned the script and are producing with Bill Block, Monica Levinson and Mike Bertolina.
Production on the film, Burr’s feature directorial debut, kicked off in Los Angeles this week.
Miramax has come aboard to produce in conjunction with Burr’s All Things Comedy.
“I’m very excited to start shooting Old Dads,” said Burr. “This comedy is based on my own and my co-writer, Ben Tishler’s, lives. Miramax has been awesome to work with and I think people are really going to like this movie.”
“Burr is one of the top comedic voices of his generation and he has written a script that’s not just unwaveringly funny, but also full of heart and unfiltered cultural commentary,” added Miramax CEO Bill Block. “We’re thrilled to be collaborating with him and this fantastic cast, including Bobby Cannavale and Bokeem Woodbine.”
Cannavale will next be seen in Andrew Dominik’s Marilyn Monroe film Blonde, toplined by Ana de Armas, also featuring in Netflix’s upcoming Big Mouthspin-off Human Resources.
The actor recently featured in the casts of Illumination and Universal’s Sing 2 and Hulu’s Nine Perfect Strangers. He’s also appeared in such series as Homecoming, Mr. Robot, Angie Tribeca, Will & Grace, Master of None, Vinyl, Nurse Jackie and Boardwalk Empire.
His additional film credits include Superintelligence, The Jesus Rolls, The Irishman, Motherless Brooklyn, Ant-Manand Ant-Man and the Wasp, Ferdinand, Jumanji: Welcome to the Jungle,I, Tonya, The Fundamentals of Caring, Daddy’s Home, Danny Collins, Annie, Adult Beginners, Chef, Blue Jasmine, Win Win, The Other Guys, Brief Interviews with Hideous Men, Paul Blart: Mall Cop, Snakes on a Plane, Fast Food Nation and The Station Agent.
The 55-year-old Mexican Oscar-nominated cinematographer is the recipient of the 2021 Vilcek Prize in Filmmaking, according to the Vilcek Foundation.
The award is part of the Vilcek Foundation Prizes, which are bestowed in a range of categories each year, in celebration of the outstanding contributions of immigrant trailblazers, within the arts and sciences.
Prieto, a Mexican native, has established himself over the years as one of Hollywood’s most sought-after DPs. Boasting credits including Amores Perrosand Brokeback Mountain, he’s known for his collaborations with renowned directors including Martin Scorsese, Ang Lee, Julie Taymor, Oliver Stone and Alejandro González Iñárritu.
A three-time Academy Awards nominee most recently recognized by the Academy for his groundbreaking work on Scorsese’s The Irishman, Prieto has also received accolades for his work from BAFTA, the American Society of Cinematographers and the Independent Spirit Awards.
Known for his unconventional camerawork, and his remarkably detailed, evocative compositions, the DP grew up with a visual artist for a mother and an aeronautical engineer for a father. Thus, in his own career, he would come to balance technology with artistry, aiming with each new project to create a distinctive and visceral, cinematic experience. “That combination…is something that I have in my DNA,” Prieto says, “utilizing technology and different techniques to create art.”
Established in 2006, as a means of championing diverse perspectives—thereby advancing the arts and sciences—The Vilcek Foundation has thus far awarded over $5.8 million to immigrants from 56 different countries.
“As leaders in the arts, we have a responsibility to promote diversity by making space, providing access, and amplifying the artistic contributions of marginalized groups and individuals,” Vilcek Foundation President Rick Kinsel says. “The Vilcek Prizes in the arts and humanities enable us to speak to the value of immigration for our society in a non-politicized way.”
This year, other prize recipients include geneticist Ruth Lehmann, chemical biologist Mohamed Abou Donia, entrepreneur (and former presidential candidate) Andrew Yang, and a number of filmmakers—among them, Juan Pablo González, Miko Revereza and Nanfu Wang.
González has been awarded the Vilcek Prize for Creative Promise in Filmmaking for the artistic rigor and deep emotional engagement that he brings to his immersive and intimate explorations of his hometown in rural Mexico.
Up next for Prieto is Scorsese’s sprawling crime drama, Killers of the Flower Moon. Set in 1920s Oklahoma, the Apple Original Film centers on an investigation into a string of brutal murders within the Osage tribe. Eric Roth wrote the script, adapting an acclaimed work of nonfiction by David Grann.
The 50-year-old half-Cuban American Emmy-winning actor is starring opposite Rose Byrne in the musical dramedy Seriously Red, the first feature from Byrne’s Dollhouse Pictures.
Cameras are currently rolling on the film in Northern Rivers, Australia.
Krew Boylan wrote the screenplay for Seriously Red, while Gracie Otto is directing
In addition to Cannavale and Byrne, the ensemble cast also includes Daniel Webber. Arclight Films has boarded to handle worldwide distribution rights with Gracie Otto (The Last Impresario) directing.
In the rowdy and rambunctious musical comedy, Red (played by Boylan) is at a crossroads in her life. A vivacious and hilarious red-haired woman grappling with high expectations and low self-esteem, she pours herself a cup of ambition and trades her 9 to 5 career in real estate for a life under the spotlight as a Dolly Parton impersonator. After misreading her work party’s dress code, Red tumbles outta bed into a new world of tribute artists and impersonators in her wild and messy journey that includes romancing a Kenny Rogers impersonator. Red has to lose herself in order to find herself. As Dolly Parton says, “Be Yourself Because Everyone is taken.”
Parton’s canon is the backbone of Seriously Red, which will also include a soundtrack from notable musical artists and as well as re-recordings.
“Seriously Red is created by an extraordinary all-female filmmaking team, which at Arclight Films we are proud to always champion,” Arclight Films chairman Gary Hamilton said. “The film is a fun, upbeat celebration of women and their journey to self-acceptance. It’s a powerful film that appeals to worldwide distributors who understand that audiences will immediately fall in love with the story, the beautifully drawn characters… and the music!”
Cannavale won Emmys for his work on HBO’s Boardwalk Empireand NBC’s Will & Grace. His Recent series credits include the upcoming Nine Perfect Strangers, Mr. Robot and Homecoming. His features include HBO Max/New Line’s upcoming Superintelligence, Universal’s The King of Staten Island, The Jesus Rolls, The Irishman, Jumanji: Welcome to the Jungle, the Oscar-winning I, Tonya, Ant-Manand Spy among many others.
Byrne and Cannavale recently starred in The Brooklyn Academy of Music’s theatrical production of Medeabefore the pandemic closed down theaters in New York City.
The 54-year-old three-time Oscar-nominated Mexican cinematographer is earning rave reviews for his work on Taylor Swift’s music video for the pop star’s latest single “Cardigan.”
The top-secret music video, written, directed and styled by Swift, was filmed during the height of the COVID-19 pandemic.
The dreamy video, released on Friday, July 24 alongside Swift’s new album Folklore, presents a cottagecore aesthetic and features Swift in three different settings.
The “homespun” and “dreamlike” video starts out with Swift sitting in a candlelit cottage in the woods, wearing a nightgown and playing a vintage upright piano. When the soundboard starts glowing, she climbs into it and is magically transported to a moss-covered forest, where she plays the song on a grand piano producing a waterfall. The piano bench starts to glow and she climbs into it. She gets transported to a dark stormy sea, where she holds on to a floating piano. The piano soundboard glows and she climbs in, and she returns to the cottage, where she dons a cardigan.
“She had the whole storyline – the whole notion of going into the piano and coming out into the forest, the water, going back into the piano,” Prieto tells Rolling Stoneof hisfirst phone call with Swift.
Their last collaboration, on the music video for “The Man,” saw Swift adopting a male alter ego to satirize gender inequality.
From the beginning, though, Prieto says “Cardigan” was always going to be more ambiguous, and more personal: “When she called me and told me that this was more of a fantasy, I found that really appealing.”
This was in early July, when Prieto had simultaneously begun serving on a committee for the American Society of Cinematographers (ASC) to conceive solutions for safely resuming film production during the ongoing pandemic.
Prieto had just finished filming a PSA for a healthcare company when Swift asked him to work on “Cardigan,” and he was well aware of the many, many layers of risks involved in the project.
“We needed to be safe, for her sake and for our sake as a crew during the shoot, but also for the future of filmmaking,” he says. “Because we want to keep working and doing what we do, and if, God forbid, someone got sick on one of the first jobs that was filmed, it would probably close down [the industry].”
The extensive safety protocols for the shoot ranged from standard – everybody had to get tested, and every member of the crew wore a mask – to outlandish: Because Swift would need to spend a large part of the shoot not wearing a face covering, the crew used a colored wristband system, determining which members of the team were permitted to stand closest to her. (Prieto, assistant director Joe Osborne, and set designer Ethan Tobman all wore one color, lighting designers and gaffers wore another, and so on.)
Prieto actually wore two face coverings – a mask and an acrylic shield – for most of the day-and-a-half-long shoot. And just to ensure that crew members crossed within a six-foot range of Swift as little as possible, the entire “Cardigan” video was shot by mounting the camera to a robotic arm, which was then controlled by a remote operator.
The “techno arm,” as Prieto calls it, is typically only used in the industry for crane shots and other establishing visuals.
“We were going to use the crane for the ocean scene,” Prieto explains, referencing the shot where the image zooms out on the wide expanse of the water before honing back in on Swift. “So then I said, let’s have it both days.”
Hooking the camera up to a giant robot was the safest way to get close-ups on Swift’s face, Prieto explains. And as unwieldy as that sounds, you’d never know from watching the video that a human being wasn’t behind the lens at all times.
There was, of course, the added tangle of secrecy – the filmmaking had to be done indoors to avoid crowds, and Swift wore an earpiece throughout the shoot to lip-sync to the song without any of the crew hearing it.
The crew built three sets on two stages across one large studio, and in order to create the illusion of natural light for the outdoor scenes, Prieto and his crew draped giant stretches of white bouncing fabric on the walls and ceiling. The process took longer than usual due to COVID, with the lighting crew working in small groups and frequently taking breaks so they could remove masks and catch their breath.
“Filmmaking is a gregarious endeavor by nature,” Prieto says. “People are close to each other, so it’s really hard to remember to keep to yourselves.” Given the distancing on set, it was sometimes tricky for crew members to communicate over reference points and documents – “we had to kind of point at each other” – but Prieto attributes Swift’s clear vision for the project as a guiding light.
Ahead of the shoot, she sent him and Tobman numerous visual references for each scene – a mix of photographs for the dark ocean water and drawings for the fantastical forest sequence. One illustration, of a sword lodged into a rock formation overlooking a creek, was particularly inspiring: “That became our focal interest – we didn’t imitate it, but the feeling of it was what we went with.”
On top of that, Swift came up with a detailed shot list for the video ahead of time, with each visual accompanied by a time sequence within the song.
“The ocean water, the fingers on the piano, whatever it may be, she knew what she wanted for each section,” Prieto says. Unlike with “The Man,” Swift couldn’t be as hands-on with her direction on set – she viewed each take through a video monitor after it was shot – but Prieto was impressed by her ability to “talk with the camera” and utilize cinematic language without formal training, like with the unorthodox, zoom-out-and-in shot over the ocean. “I was blown away, because it’s all metaphorical,” he says. “This video is not just pretty images of things; she’s telling a personal story through her lyrics, her music, and now through the video.”
The video has already been viewed more than 40 million times on YouTube since its release.
Prieto previously earned Academy Awards for his lensing work on Ang Lee’s Brokeback Mountain (2006), Martin Scorsese’s Silence (2017) and Scorsese’s The Irishman (2020).
His other film credits include Alejandro González Iñárritu’s Babel (2006) and Biutiful (2010), Francis Lawrence’s Water for Elephants and Cameron Crowe’s We Bought a Zoo.
The 37-year-old Dominican actress will star opposite Tate Donovan and Melissa Leo in the Fox pilot Blood Relative.
The forensic genealogy-themed crime drama hails from writer-producer Chris Levinson and producer Liza Chasin.
Blood Relative is based on James Renner’s 2018 article “Beyond the Jungle of Bad: The True Story of Two Women from California Who Are Solving All the Mysteries,” about Dr. Colleen Fitzpatrick and Dr. Margaret Press, who combined their genealogy expertise to push the boundaries of forensic science and helped law enforcement identify Joe and Jane Does and track down serial killers.
Written by Levinson and Renner and to be directed by Phillip Noyce, Blood Relativecenters on genetic genealogy, the best new tool in crime scene forensics, and nobody knows it like Louise Kelly (Leo). Too bad she’s impossible to deal with.
Polanco will play Maria Alvarez, a woman making lemonade out of lemons. She and her hearing-impaired 8-year-old son Sam live with her home psychic mother while Maria goes to night school to get her Ph.D. in psychology (she will eventually go to work at the same Parish Precinct as John (Donovan). Maria’s reason for wanting to work with cops? She’s spent her entire life in their world. Twenty years ago, her father Diego was convicted of murder. Maria is stunned to learn that the police have discovered the body of Gary Northrup – the very man her father is accused of killing. Lou’s DNA genius might prove her father’s innocence. Maria’s life will be changed by this new science and this oh so unique woman. She’ll also prove to be one of the only people alive who speaks “Lou,” making her an invaluable asset.
Paramount Television Studios and Anonymous Content co-produce with Fox Entertainment.
Polanco rose to acclaim as Dayanara Diaz on all seven seasons of Netflix’s Orange is the New Black. She’ll next co-star in Lin Manuel-Miranda’s In the Heights and as the female lead alongside Sylvester Stallone in Samaritan.
Polanco’s other credits include Netflix’s When They See Us, The Irishman and FX’s The Assassination of Gianni Versace: American Crime Story.
Polanco was high on Fox’s wish list of talent for pilots this season. Her deal for Blood Relativewas in negotiations when pilot season ground to a halt in mid-March due to the coronavirus pandemic.
The Academy of Motion Picture Arts & Sciences has released its annual list of invitations to join the organization, with the 26-year-old Mexican actress and UNESCO Goodwill Ambassador for Indigenous Peoples among the 819 extended an invite.
Aparicio, one of Timemagazine’s100 most influential people in the world in 2019,earned an Oscar nod in the Best Actress category for her performance in Alfonso Cuarón‘s 2018 Spanish-language drama Roma. With the nomination for her actig debut, she became the first Indigenous American woman and the second Mexican woman to receive a Best Actress Oscar nomination.
But Aparcio isn’t the only Latino/a to make the list…
Other invitees in the Actors branch include Bobby Cannavale, who appeared in The Irishman, Overboard’s Eva Longoria, Knives Out star Ana de Armas and Gringo actor Yul Vazquez.
Invitees in the Music branch include Andrea Guerra (Hotel Rwanda) and Cuban-American jazz trumpeter Arturo Sandoval, who worked on the music for Clint Eastwood’s films Richard Jewell and The Mule.
The Directors branch sent out invitations to Latino filmmakers Icíar Bolláin (Spanish), Felipe Cazals (Mexican), Sebastián Cordero (Ecuadorian), Luis Estrada (Mexican), Alejandro Landes (Colombian-Ecuadorian),Jorge Alí Triana (Colombian) and Andrés Wood (Chilean).
This year’s new class demonstrates The Academy’s commitment to erasing the stigma of not being inclusive, particularly in terms of women, international members and underrepresented ethnic/racial communities.
The organization reports this year’s class breakdown is 49% international, 45% women, and 36% underrepresented ethnic/racial.
The overwhelming number of those invited to join the Academy end up accepting.
The total active membership in 2019 was 8,946, with 8,733 eligible to vote. Total membership including active, voting and retired was 9,794. Today’s additions will take the membership count past the 10,000 mark.
AMPAS says members can voluntarily disclose their race/ethnicity, sex or can choose “prefer not to.” So, demo stats may not be 100% accurate. AMPAS also “recognizes and respects” the personal choice in identification, but doesn’t track LGBTQ+ or differently abled, although a source says, while protecting privacy and not forcing answers, they are “working towards it.” In other words this is no longer your father’s Academy.
“We take great pride in the strides we have made in exceeding our initial inclusion goals set back in 2016, but acknowledge the road ahead is a long one,” said Academy CEO Dawn Hudson. “We are committed to staying the course.”
“The Academy is delighted to welcome these distinguished fellow travelers in the motion picture arts and sciences. We have always embraced extraordinary talent that reflects the rich variety of our global film community, and never more so than now,” said Academy President David Rubin.
Here’s a look at some of this year’s Latino invitees:
Actors Yalitza Aparicio – “Roma” Bobby Cannavale – “The Irishman,” “The Station Agent” Ana de Armas – “Knives Out,” “Blade Runner 2049” Eva Longoria – “Overboard,” “Harsh Times” Yul Vazquez – “Gringo,” “Last Flag Flying”
Casting Directors Libia Batista – “Eres Tú Papá?,” “Viva” Javier Braier – “The Two Popes,” “Wild Tales” Eva Leira – “Pain and Glory,” “Biutiful” Yesi Ramirez – “The Hate U Give,” “Moonlight” Yolanda Serrano – “Pain and Glory,” “Biutiful”
Directors Icíar Bolláin – “Even the Rain,” “Take My Eyes” Felipe Cazals – “El Año de la Peste,” “Canoa: A Shameful Memory” Sebastián Cordero – “Europa Report,” “Crónicas” Luis Estrada – “The Perfect Dictatorship,” “Herod’s Law” Alejandro Landes – “Monos,” “Porfirio” Jorge Alí Triana – “Bolívar Soy Yo,” “A Time to Die” Andrés Wood – “Araña,” “Violeta Went to Heaven”
Documentary Cristina Amaral – “Um Filme de Verão (A Summer Film),” “Person” Violeta Ayala – “Cocaine Prison,” “The Bolivian Case” Julia Bacha – “Naila and the Uprising,” “Budrus” Almudena Carracedo – “The Silence of Others,” “Made in L.A.” Paola Castillo – “Beyond My Grandfather Allende,” “Genoveva” Paz Encina – “Memory Exercises,” “Paraguayan Hammock” Mariana Oliva – “The Edge of Democracy,” “Piripkura” Iván Osnovikoff – “Los Reyes,” “La Muerte de Pinochet (The Death of Pinochet)” Tiago Pavan – “The Edge of Democracy,” “Olmo and the Seagull” Bettina Perut – “Los Reyes,” “La Muerte de Pinochet (The Death of Pinochet)” Marta Rodriguez – “Our Voice of Earth, Memory and Future,” “Campesinos (Peasants)”
Executives Ozzie Areu Barbara Peiro Frank Rodriguez Mimi Valdes
Film Editors Alejandro Carrillo Penovi – “Heroic Losers,” “The Clan” Alex Marquez – “Snowden,” “Savages”
Makeup Artists and Hairstylists Mari Paz Robles – “I Dream in Another Language,” “Cantinflas” David Ruiz Gameros – “Tear This Heart Out,” “Amores Perros” Susana Sánchez – “The Liberator,” “Goya’s Ghosts”
Marketing and Public Relations Inma Carbajal-Fogel Emmanuelle Castro Fernando Garcia Dustin M. Sandoval
Music Andrea Guerra – “The Pursuit of Happyness,” “Hotel Rwanda” Arturo Sandoval – “Richard Jewell,” “The Mule”
Producers Edher Campos – “Sonora, the Devil’s Highway,” “The Golden Dream” Nicolas Celis – “Roma,” “Tempestad” Alex Garcia – “Kong: Skull Island,” “Desierto” Enrique López Lavigne – “The Impossible,” “Sex and Lucia” Álvaro Longoria – “Everybody Knows,” “Finding Altamira” Mónica Lozano – “I Dream in Another Language,” “Instructions Not Included” Gabriela Maire – “Las Niñas Bien (The Good Girls),” “La Caridad (Charity)” Luis Manso – “Champions,” “Binta and the Great Gabriela Rodríguez – “Roma,” “Gravity” Mar Targarona – “Secuestro (Boy Missing),” “The Orphanage” Luis Urbano – “Letters from War,” “Tabu”
Production Design Sandra Cabriada – “Instructions Not Included,” “The Mexican” Estefanía Larraín – “A Fantastic Woman,” “Neruda”
Short Films and Feature Animation José David Figueroa García – “Perfidia,” “Ratitas” Oscar Grillo – “Monsters, Inc.,” “Monsieur Pett” Otto Guerra – “City of Pirates,” “Wood & Stock: Sexo, Orégano e Rock’n’Roll” Isabel Herguera – “Winter Love,” “Under the Pillow” Summer Joy Main-Muñoz – “Don’t Say No,” “La Cerca” Juan Pablo Zaramella – “Luminaris,” “The Glove”
Sound David Esparza – “The Magnificent Seven,” “The Equalizer”
Visual Effects Leandro Estebecorena – “The Irishman,” “Kong: Skull Island”
Members-at-Large Daniel Molina Carlos Morales Jesse Torres
The 49-year-old half-Cuban American actor will star opposite Rose Byrne in Simon Stone’s contemporary rewrite of the Euripides’ tragedy Medeaat the Brooklyn Academy of Music in January.
Originally staged in 2014 by Amsterdam’s International Theater Amsterdam(formerly Toneelgroep Amsterdam), Medea will pair real-life couple Byrne and Cannavale, with additional cast to be announced.
Stone’s adaptation of the Medea story uses the true-life crime case of American Debora Green, who poisoned her cheating husband and killed two of her three children in 1995. The adaptation played London’s Barbicanin 2019, where it starred Marieke Heebink and Aus Greidanus Jr.
Cannavale was seen on Broadway last fall in The Lifespan of a Fact, co-starring Daniel Radcliffe and Cherry Jones. His many stage credits include the Tony-nominated Mauritius, The Motherf*cker With The Hat, The Hairy Ape, Glengarry Glen Ross, Hurly Burly, and others.
He’s a member of the Labyrinth Theater Company. His upcoming films include The Irishman, Superintelligence, andMotherless Brooklyn.
“I’m excited to welcome writer/director Simon Stone following his enormous success with Yerma,” said BAM artistic director David Binder, “and look forward to having the incredible actors Rose Byrne and Bobby Cannavale in lead roles on our stage.”
Medea will be produced in Brooklyn by International Theater Amsterdam, BAM, and David Lan, who will serve as BAM’s Theater Associate.
The 47-year-old half-Cuban American actor will co-star opposite Julia Roberts and Stephan James in Homecoming, the half-hour drama from Universal Cable Productions, Mr. Robot creator Sam Esmail and Anonymous Content.
The project has a two-season straight-to-series order at Amazon.
Homecoming, based on Gimlet Media’s breakout fictional podcast, is written by the podcast’s creators Eli Horowitz and Micah Bloomberg and directed by Esmail.
It’s described a psychological thriller that centers on Heidi (Roberts), a caseworker at a secret government facility, and a soldier (James) eager to rejoin civilian life.
Cannavale plays Colin Belfast, the ambitious off-site supervisor of the Homecoming Initiative.
Presented in a collage of telephone calls, therapy sessions and overheard conversations, the Homecoming podcast had a cast led by Catherine Keener that also included Oscar Isaac, David Schwimmer, Amy Sedaris and David Cross. Keener voiced the caseworker, Isaac the soldier and Schwimmer the supervisor.
Filming is slated to begin in Los Angeles in April 2018. Amazon Studios will have global rights to Homecoming, which will premiere globally exclusively on Amazon Prime Video.
Cannavale, who starred on HBO’s Boardwalk Empire, appears on USA Network’s drama series Mr. Robot. He will next beseen in I, Tonya and Jumanji as well as Going Places,The Wasp and Martin Scorsese’s The Irishman.