‘Call Me By Your Name’ Soundtrack Features Sufjan Stevens, The Psychedelic Furs, More

By now you’ve seen the .gif that’s gone ’round the world (or at least, around the internet) of Armie Hammer deliciously dancing in “Call Me By Your Name.” The clip it’s derived from spawned a number of mashups and parodies, and even a (now suspended) Twitter account. What you might not know is that the song that sees Hammer go free is “Love My Way” by The Psychedelic Furs, and the rest of the soundtrack is even better.

Luca Gudagnino‘s tale of lush and literate summer love and first romance moves in a few different musical directions, but two new songs by Sufjan Stevens — “Mysteries Of Love” and “Visions Of Gideon” — are the heart and soul of the movie. Elsewhere, the soundtrack runs from Europop to classical, and it’s very tastefully employed, becomes part of the fabric of this unstoppably gorgeous film.

The soundtrack will be released on November 17th by Sony Classical, and the film opens in limited release on November 24th. [Film Music Reporter]

“Call Me By Your Name” Soundtrack Tracklisting

1. Hallelujah Junction – 1st Movement – John Adams

2. M.A.Y. in the Backyard – Ryuichi Sakamoto

3. J’adore Venise – Loredana Bertè

4. Paris latino – Bandolero

5. Sonatine bureaucratique – Frank Glazer

6. Zion hört die Wächter singen (From “Cantata Wachet auf, ruft uns die Stimme”, BWV 140) – Alessio Bax

7. Lady Lady Lady – Giorgio Moroder & Joe Esposito

8. Une barque sur l’océan from Miroirs – Andre Laplante

9. Futile Devices (Doveman Remix) – Sufjan Stevens

10. Germination – Ryuichi Sakamoto

11. Words – F.R. David

12. È la vita – Marco Armani

13. Mystery of Love – Sufjan Stevens

14. Radio Varsavia – Franco Battiato

15. Love My Way – The Psychedelic Furs

16. Le jardin féerique from Ma mère l’Oye – Valeria Szervánszky & Ronald Cavaye

17. Visions of Gideon – Sufjan Stevens

‘Call Me By Your Name,’ ‘Disaster Artist’ And ‘Hostiles’ are the 2017 AFI Fest Galas

AFI Fest is less than three weeks away and today the annual awards season event revealed its three centerpiece galas. To say it’s looking like a stranger than usual AFI Fest is sort of an understatement.

As previously announced, Dee Rees’ “Mudbound” will open the festival on Thursday, Nov. 9. It’s the first opening night film that’s not a world premiere in at least five years. The closing night film is Ridley Scott’s “All The Money In The World” which will have its world premiere on Nov.

The galas begin on Friday, Nov. 10 when Luca Guadagnino‘s celebrated “Call Me By Your Name” has its official Los Angeles debut. That Sony Classics release was expected to be part of the gala slate, the following two galas were not.

On Sunday Nov. 12 James Franco’s “The Disaster Artist” will also hit LA, the birthplace of its cinematic inspiration, “The Room.” The third and final gala is on Tuesday, Nov. 14 and showcases Scott Cooper’s “Hostiles” which received mixed reviews at both the Telluride and Toronto Film Festivals.

“Hostiles” will hope for better luck the third time around in order to bolster hopes for star Christian Bale in the Best Actor category while “Disaster Artist” fights for an Adapted Screenplay nod and Best Actor recognition for Franco.

A number of films skipped the opportunity to have a gala this year including “Darkest Hour,” “Wonder Wheel,” “Molly’s Game,” “Film Stars Don’t Die In Liverpool,” “Coco,” “I, Tonya,” “The Shape of Water,” “The Post” and “Phantom Thread” although, in theory, the later two could “sneak” during the festival. It’s also possible some of those films will just have regular screenings instead of galas, but it seems unlikely. AFI’s Nov. 9th kick-off means that potential players such as “Three Billboards Outside Ebbing, Missouri,” “Lady Bird,” “Roman J. Israel, Esq.” or “Last Flag Flying” were already in theaters by the time the festival begins or opening that same weekend.

The festival also announced that a tribute will be held for documentary filmmaker Errol Morris centered around his latest endeavor, “Wormwood.”

AFI Fest 2017 runs from Nov. 9-16.

Gregory Ellwood

Miles Teller Returns To Real Life With ‘Only The Brave’ And ‘Thank You For Your Service’

It’s hard to believe it’s only been three years since Miles Teller starred in a Best Picture nominee. From the great heights of “Whiplash” came a startling crash as a year later “Fantastic Four” became something of an albatross around his neck. His co-stars in that misfire seem to be doing O.K., though. Michael B. Jordan rebounded with the monster hit “Creed” and has the upcoming “Black Panther” on deck. Beyond their personal relationship, Kate Mara had “The Martian” and the indie hit “Megan Leavey” while Jamie Bell finally escaped the forgettable AMC series “Turn” this year while earning some of the best notices of his career for “Film Stars Don’t Die In Liverpool” last month. Teller? Slightly different story.

The now 30-year-old actor earned fine notices in 2016 for “War Dogs” and “Bleed For This,” but both were financial disappointments. Now Teller has two films debuting within two weeks of each other that feature, arguably, his quietest and grounded performances since “Whiplash” or “The Spectacular Now.” They may not be blockbusters, but when you see them you’ll recognize a Teller you haven’t seen in awhile.

In Joseph Kosinski’s already underappreciated “Only the Brave,” Teller plays Brendan “Donut” McDonough, a real life firefighter whose second shot at life blossomed when he became a member of the Granite Mountain Hotshots, an Arizona firefighting brigade. Jason Hall’s “Thank You For Your Service” is based on the non-fiction book of the same title by David Finkel and finds Teller playing Adam Schumann, an Army Sergeant who, along with his fellow soldiers, finds it difficult to readjust to the everyday after two deployments in Iraq.

Last weekend Teller sat down to chat about the importance of both films in his life, the difficulty (or not-so) of crying on cue, screening “Thank You” for Veterans Administration Secretary David Shulkin, working with Nicolas Winding Refn and more.

Please note: There are some minor spoilers based on the historical facts of both films discussed during this interview.


Gregory Ellwood: Congrats on both your movies.

Miles Teller: Thanks, man.

Both films are coincidentally about real, modern-day people dealing with incredibly dramatic events in their lives. How did they end up being back to back projects?

So, I was attached to “Thank You for Your Service” and I was, I think, maybe about two weeks away from heading to Atlanta to do the boot camp. And that’s when I got sent “Only the Brave” and I met with Joe Kosinski right before I left and I was like, “Man, this is a great project. And when are you starting?” And he’s like, “Oh, we’re starting here.” And I’m like, “Oh, my God. It’s like a month after I get off ‘Service.’” I knew the toll that this was gonna take on me, but look, I guess that’s a good problem to have. It’s not ideal to do them [both] in that short a period, for that transition to be that short. But, I just felt really strongly about both these characters so I made it work.

You said you were attached to “Thank You.” Were you a part of it for a while? Were you trying to help get it off the ground?

No, I wasn’t involved that early, but I know that I was the guy that [Jason] had in mind for it. I was helping him read with some of the other actors to figure out the other characters and stuff and I was able to kinda get into that mindset.

In terms of “Thank You” what about the project made you want to commit to it? And what about the story was so compelling?

A lot of these films aren’t being in made in terms of movies that are actually about our countrymen and these guys who are doing these jobs. And a lot of my buddies are in the military. I have so much respect for the military and I think, yeah, look, what actor doesn’t wanna be smoking a cigarette, tattooed up, over there in Vietnam and all that shit? But, this is important subject matter and I just really felt for Adam. The script did such a good job and the book [as well in] depicting what life is like when they get off the plane and they get back home. I don’t know, I just really felt for him. I just had a lot of empathy for him and to experience all that and to then, just kinda come back home and be left with very minimal resources to deal with it, I just felt for that struggle.

When you met with the real Adam was there one thing in particular that you took away from meeting him before you shot the film?

Well, it’s interesting ’cause I met Adam obviously a couple years removed from the experiences that we were recreating. There’s many different versions of Adam. There’s the Adam who was over there in combat. There was the Adam before he went to war. Then, there’s kind of the post war Adam and the post traumatic stress version of Adam and that’s what these guys struggle with, is that sense of self and that figuring out what that identity is once they’re not wearing the uniform and once they get home. So, I don’t know, I just kinda took it all in. But, Adam’s a really incredible guy and it’s a daily kind of struggle for a lot of them, but it’s been nice to see with Adam even from when I first met him two years ago how much he’s kind of changed a little bit.

Was there anything he specifically asked that you depicted? He’s like, “Hey, when you do this, can you make sure that you reflect this? Or make sure that the relationship with my wife is some way?”

I remember the day, there’s a scene where Adam drops his kid and that [eventually transitioned to] him putting a gun his mouth. This film doesn’t pull any punches and I think that it’s a very honest film. I would just text him like, “Hey, man, I got that scene today, dropping your kid and whatever.” And he just said, “Dude,” he said, “You need to lose it, then,” he said, “‘Cause that was probably one of the worst days of my life,” he said, “I was an absolute wreck,” he said, “So, get them tears flowing, dude.”


I fees what like it’s always a cliché where press or fans assume it’s so difficult for an actor to get to that point where they cry on camera. And I’m sure for some actors it is hard and for some isn’t, but in both this and “Only the Brave” you have two of the most emotional key scenes in the film. The one you just talked about with the gun and then in “Only the Brave” when Brendan finds out what happens to his fellow firefighters. How do you get there? Is that a stupid question to ask?

Yeah, I mean, I never gave a shit about [whether I] need to cry to validate a performance. Honestly, I think it’s tough to watch someone trying not to cry, you know what I mean? But, I think that if you’re actually able to put yourself in these guys’ shoes and you’re not moved by it, then you’re probably not working on the right project. I just really felt I had a lot invested in these characters, I just really felt for them. And so, I was able to kinda put myself in their shoes a little bit and so, yeah, I don’t know, for me, I just have a lot of empathy for these characters that I’ve played.

Let’s talk about those two scenes in particular. When you’re shooting that moment in “Thank You” it’s set up as a long take and you’re in a truck with a gun. Was Jason just like, “Just go ahead. We’re gonna run it. We’re gonna let it go”? Do you remember what the idea was behind the extended take?

I don’t know if I knew it at the time. But, I knew it was gonna be a “push in” technically. I was aware of the shot and yeah, and it’s a pretty long sequence. I remember on the day just really trying to fill my head with as many thoughts as I could ’cause, to me, that’s[what I need]. It’s really tough and, as an audience, you don’t wanna watch someone acting that shit. That would be brutal. So, you just try and make it as honest as possible and feel like it’s just you and make it really personal.

The contrast is in “Only the Brave” where Joseph does almost the opposite of Jason. He pulls away when your character finds out.

I was very frustrated on that because that was just a very technical shot. I had to come in and I had to hit this mark and then, the camera was just right in my face. So, I couldn’t even look around to the people. I’m just looking at a fucking camera, like a camera box, and I couldn’t see anybody and I just felt like I was being dishonest and I actually went outside after a take or two and I just felt foolish. I felt like I was acting this moment. I felt like I had lost. I couldn’t even look at people, so that was a very technical shot. So, to marry kind of honest emotion with something technical was just tough for me, but Joe was like, “Trust me, we got it.”

I think there’s just different ways of doing it and I thought it was still powerful in that respect. But, clearly, it was such a different concept on the moment.

Yeah, it’s a totally different experience, yeah. You can’t be unaware of, we’re making a film. This is not real life when that camera’s right in your face.

‘The End Of The F***ing World’ Trailer: Teens Get Nihilistic In New Netflix Series

It is a fairly certain fact that the end is nigh. Whether it’s a sudden nuclear attack, or a somewhat gradual descent into anarchy remains to be seen, but there’s no debate that it’s just about the end of the fucking world. But let’s all hope we aren’t obliterated before the debut of a new Netflix show, appropriately titled, “The End of the Fucking World.”

Netflix has partnered with E4 for the upcoming series based on Charles Forsman’s 2013 wildly beloved, critically acclaimed, and award-winning comic book series, titled – you guessed it – “The End of the Fucking World.” According to Digital Spy, director Jonathan Entwistle calls it “a live action version which will transport Charles’s visions of the US to a nihilistic, recession-laden UK.”

Channel4 gives us a delightfully moody taste of what to expect:

James, 17, is pretty sure he’s a psychopath – emotionally detached, cold and disdainful, he’s decided he’s ready to graduate from killing animals. He thinks it might be interesting to kill something bigger…a human. And he’s got the perfect person in mind…

Alyssa, also 17, is new in school – cool and moody, she’s existential angst made flesh. But despite being popular at school, she still feels like she doesn’t belong. Spotting James one day at school, however, she thinks she may have found a soulmate…

When things come to a head at home between Alyssa, her mother and stepdad, she leaves and persuades James to join her in search of her real father. And so begins a journey of discovery that becomes progressively ominous as James’s urge to act on his sociopathic and violent inclinations increase while Alyssa, blinded by young love, remains wilfully ignorant of the consequences that lie at the end of the road. One night, however, the pair find themselves caught up in events that lead them down an ever more menacing and surreal path.

Jessica Barden (“Penny Dreadful“) and Alex Lawther (“Black Mirror“) star in the project with Charlie Covell serving as the writer. Jonathan Entwistle and Lucy Tcherniak will direct, with Kate Ogborn as producer. “The End of the Fucking World” launches on Channel 4 in the U.K. on October 24th and hopefully Netflix won’t take too long to bring it to the rest of the world.

  • Fernando Almeida

    He gives me Sheldon Cooper from hell vibes

‘The Punisher’ Trailer: Frank Castle Violently Faces The Truth

Comic book fans are getting Christmas one month early. November will bring the big screen launches of “Thor: Ragnarok” and “Justice League,” while on the small screen, the highly anticipated “The Punisher” will finally be unleashed. And it looks like it means business.

READ MORE: 11 TV Shows To Watch In October

Jon Bernthal finally comes out of the shadows from “The Defenders,” with the ex-Marine using his best Batman voice, getting every gun that he can, and waging a personal war on… well, it looks like everybody. Deborah Ann Woll‘s Karen Page will be the connection to the rest of the Netflix MCI, but the rest of the ensemble are new faces to that world, including Ben Barnes, Ebon Moss-Bachrach, Amber Rose Revah, Daniel Webber, Jason R. Moore, Paul Schulze, Jaime Ray Newman and Michael Nathanson. Here’s the official synopsis:

After exacting revenge on those responsible for the death of his wife and children, Frank Castle (Jon Bernthal) uncovers a conspiracy that runs far deeper than New York’s criminal underworld. Now known throughout the city as The Punisher, he must discover the truth about injustices that affect more than his family alone.

“The Punisher” hits Netflix on November 17th.

‘Jean-Claude Van Johnson’ Trailer: Jean-Claude Van Damme Goes Undercover

I feel like I’ve been hearing about “Jean-Claude Van Johnson” forever by this point, so I’m kind of surprised to learn that the first season hasn’t arrived yet. At any rate, the high concept comedy literally packs a punch, and it’ll be interesting to see how Jean-Claude Van Damme pokes fun at his action hero legacy.

Created and written by Dave Callaham (“The Expendables“) and directed by Peter Atencio (“Keanu“), with Ridley Scott surprisingly among the producers, the series follows Van Damme (playing “himself”), who uses his Hollywood fame as cover for dangerous, undercover missions. It all looks appropriately goofy, though the budget looks… modest, at best. Here’s the official synopsis:

READ MORE: ’24 Hours To Live’ Trailer: Ethan Hawke Flick Is Like ‘John Wick’ Meets ‘Flatliners’ Meets ‘Jason Bourne’

‘Jean-Claude Van Johnson’ stars global martial arts & film sensation Jean-Claude Van Damme playing “Jean-Claude Van Damme,” a global martial arts & film sensation, also operating under the simple alias of “Johnson” as the world’s most dangerous undercover operative. Unhappily retired, a chance encounter lures him back into the game, forcing him to confront the greatest enemy he’s ever faced.

Co-starring Phylicia Rashad, Kat Foster, and Moises Arias, “Jean-Claude Van Johnson” hits Amazon on December 15th.

David Fincher Explains Why HBO’s ‘Utopia’ Fell Apart & Updates Status On ‘World War Z’ Sequel

It’s not unusual for shows not make it through the development process and land a series order, but it’s not often that they are as high profile as David Fincher‘s “Utopia.” The proposed HBO series was a remake of the Brit series on Channel 4 series which follows a group of people who get their hands on a cult graphic novel called “The Utopia Experiments,” which has predicted no shortage of disasters. An organization known only as The Network hunts them down as the group tries to prevent the next disaster foretold in the pages of the manuscript from happening. It’s high concept stuff, and talent was top shelf, with “Gone Girl” writer Gillian Flynn penning the scripts, Rooney Mara slated to star, and Fincher himself set to direct the entire first season. But ultimately, HBO said no. So, what happened?

On the Empire podcast, the director revealed that at the end of the day, it was all about dollars and cents. His budget was just slight over what HBO was willing to spend, and with neither side willing to compromise, it fell apart.

“I thought we had really, really good scripts and a great cast and we were getting ready to do that and you know it came down to $9 million. In the end, when you actually kind of lay it all out, $9 million in the scheme of things doesn’t sound like a huge discrepancy between what we wanted to do and what they wanted to pay for,” Fincher explained. “But when you cut $9 million out of $100 million, 10% is not 10% in filmmaking. In filmmaking terms, you’re gonna have the same amount of drivers, you’re gonna have the same amount of accountants, you’re gonna have the same amount of costumers, you’re gonna have the same amount of stunt people. The only area that’s going to have to shrink by 10% is the amount of time that you have with the actors.”

The British version of “Utopia” was almost certainly operating with less money, but Fincher had massive ambitions for his version, essentially aiming to create a blockbuster-sized TV show.

“…our version of it was we were attempting to do something that would allow HBO to run something in the summer during kind of you know spandex blockbuster tentpole time, and I wanted to make a show that would sort of rival the tentpole movies maybe not in terms of the CG or how much the universe is gonna explode, but in terms of twists and turns,” Fincher said. “The material—Gillian Flynn wrote the scripts and you know it’s a road movie. They go from one place to the next place, they burn that place to the ground, they go to the next place and they shave their heads and dye their hair and get tattoos and then burn that place to the ground. It wasn’t ‘Cheers.’ It wasn’t like you build a bar, and then generate some pages and the cast comes in and reads some lines. Which was enormously difficult. This was inherently chronological. Any time that you sort of impose a chronology to film production things become—because you literally can’t go to the next scene until you finish the scene in the kitchen that burns do the ground. You have to make sure you have it done, then you can burn it to the ground.”

Essentially, it sounds like “Utopia” wasn’t the easiest material to tweak to fit a budget, so in the end, everyone walked away. It’s a shame, but I suppose had “Utopia” gone forward, we might not currently be enjoying the brilliant “Mindhunter.”

As for Fincher’s next big screen outing, he’s currently attached to the undated and still developing sequel to “World War Z,” however it hardly sounds like everything is locked into place with that one.

“I’ve been working for about a year now with [the writer of the original ‘Utopia’] Dennis Kelly on ‘World War Z’… We’re hoping to get a piece of material that’s a reason to make a movie not an excuse to make a movie,” he said.

That’s the Fincher thoughtfulness we know and love and it’s good to know that he’s not going to jump into anything until he was a script he can believe in. Listen to the full chat below. [via Collider]

Mark Ruffalo & Derek Cianfrance Team For ‘I Know This Much Is True’ At HBO

Peak TV is gonna Peak TV, and the latest project to get the wheels turning at HBO brings together an auteur, a superhero, and some critically acclaimed source material.

Derek Cianfrance has signed up to direct the limited series adaptation of Wally Lamb‘s acclaimed “I Know This Much Is True.” Mark Ruffalo will pull a James Franco, playing dual roles in the drama about twin brothers, and their lives across the 20th century. Here’s the book synopsis:

On the afternoon of October 12, 1990, my twin brother, Thomas, entered the Three Rivers, Connecticut, public library, retreated to one of the rear study carrels, and prayed to God the sacrifice he was about to commit would be deemed acceptable. . . .

One of the most acclaimed novels of our time, Wally Lamb’s I Know This Much Is True is a story of alienation and connection, devastation and renewal, at once joyous, heartbreaking, poignant, mystical, and powerfully, profoundly human.

Cianfrance has penned the adaptation, and while there is no start date yet, it’s promising stuff. The director’s wheelhouse has always been familial relations (“Blue Valentine,” “The Place Beyond The Pines,” the underrated “The Light Between Oceans“) and the opportunity for Cianfrance to work on a bigger narrative canvas is exciting. As for Ruffalo — who can complain about having more than one of the actor? [Deadline]

Stream ‘Stranger Things’ Season 2 Soundtrack By Kyle Dixon & Michael Stein

In the realm of iconic TV show themes, “Twin Peaks” likely remains at the top of the mountain. But for Kyle Dixon and Michael Stein, Emmy winners for their work on “Stranger Things,” they aimed high and no one would argue they’re getting pretty close to the top, as well.

“We wanted [our music] to have that kind of impact,” Stein told Billboard earlier this year.

With sold out concerts for the duo and their band S U R V I V E in the wake of the series, and the music becoming such an integral ingredient to the show’s success, it’s safe to say they’ve succeeded. Now, they’re back for season 2 and the synths are all warmed up. While you might find Dixon and Stein adding some new colors to their template, such as in the more romantic “Walkin’ In Hawkins,” you won’t be hearing anything that’s too far afield from their playbook.

“I don’t know if any of the characters are calling for a guitar to come out,” Stein joked.

The “Stranger Things” season 2 soundtrack is now available digitally.