"Encanto,"  which features original songs by Lin-Manuel Miranda, follows the Madrigal family who live in an enchanted Colombian village. Every family member has a special power except for Mirabel (voiced by Stephanie Beatriz), who must go on a quest to save her family and town. Howard co-directed the film with Jared Bush and Charise Castro Smith.
On hand to give viewers a behind-the-scenes look at the film’s vibrant visuals will be co-director Byron Howard, production designer Ian Gooding and assistant production designer Lorelay Bové.
Registration for the conference and information on the full program are available at the VIEW Conference website.” />
Cinematographer Roger Deakins will receive the Visionary Award for his contributions to the industry during the weeklong event.
the Machines” producers Phil Lord and Chris Miller as well as director/co-writer Mike Rianda; “The Boss Baby: Family Business” director Tom McGrath; Jorge Gutierrez, director of Netflix’s upcoming “Maya and the Three”; “Wolfwalkers” director Tomm Moore; “Shang-Chi and the Legend of the Ten Rings” VFX supervisor from WETA Digital, Sean Walker; the filmmakers behind Aardman Animations’ upcoming short “Robin Robin”; Industrial Light & Magic’s Hal Hickle, who worked on the “Star Wars” films and the Disney Plus series “The Mandalorian”; VP and general manager of the Unreal Engine at Epic Games Marc Petit; and Respawn Entertainment game director Peter Hirschmann, filmmaker Anthony Giacchino and composer Michael Giacchino, who will preside over a special panel on the “Medal of Honor” game series. Other confirmed VIEW Conference speakers include “The Mitchells vs.
22, during the VIEW Conference 2021. The panel, which is free to registrants like the rest of the conference, will begin at noon PT. Disney’s upcoming animated film “Encanto” will be featured in a special virtual presentation on Friday, Oct.
VIEW Conference, now in its 22nd year, will be both virtual and in-person, with in-person events taking place at the state-of-the-art OGR venue in Turin, Italy. 17. The presentation will take place on the last day of the conference, which opens Sunday, Oct. The conference, which welcomes top professionals in all aspects of filmmaking, including animation, visual effects, computer graphics, games, interactive and immersive media, virtual production, will feature 280 speakers and more than 160 talks, panels, workshops, masterclasses and keynote addresses.

But the therapeutic communion works both ways. Jim Welch, who runs Operation Wild Horse, talks about the horses' ability to rehabilitate veterans who are grappling with PTSD and, in some cases, wrestling with thoughts of suicide. The most haunting comment in the film comes from a veteran who says, "Mustangs have been through what we have." It’s true:” /> Where "The Mustangs" becomes most moving, and takes us closest to the mustangs' hearts, is in the section devoted to Operation Wild Horse, located on 10 acres in Bull Valley, Ill., where a community of veterans and military families come together to experience the healing power of mustangs. "Mustangs," he says, "can look into your soul." And ease it. We see veterans of Vietnam and Iraq as they ride horses and commune with them; at moments, we can almost touch the majesty of the horses’ healing spirit.
It’s a friendly, lyrical, and stirring documentary about the horses that still roam the Western wilds of the U.S. And, of course, they look like something from the mythic past. The documentary is full of sublime and reverent images of mustangs, all different colors (brown, white, gray, black), galloping through the hearty landscapes of places like Wyoming, where they’re a wondrous sight to behold. — a phenomenon a lot of people don’t even know about. "The Mustangs: America’s Wild Horses" presents us with a different sort of conundrum. David Phillips, the award-winning New York Times journalist, is interviewed in the film, and he says that when people ask him about his 2017 book "Wild Horse Country," 90 percent of them are surprised to learn that wild horses still exist. That’s because these horses seem like something from the mythic past.
It lies in darting them with a vaccine that inhibits fertilization, a task that falls, as of now, to a spunky team of volunteers, most of them women, who roam the plains equipped with dart guns, shooting at the fillies from 40 feet away. But "The Mustangs" offers the beginning of a solution to the wild-horse population problem. Once that happened, though, the population growth of mustangs had to be contained, a job that fell to the Bureau of Land Management, which has struggled with the issue for decades, to no one’s satisfaction. The darts do not hurt; but they control population growth — which, for these animals, has become essential.
President Nixon embraced it, and so did just about everyone in Congress. It culminated in the passage of the Wild Free-Roaming Horses and Burros Act of 1971, a law that made killing a wild horse a federal crime. They were saved by one individual: Velma Johnston, a chain-smoking secretary who became known as Wild Horse Annie, "the Gandhi of the wild horse movement." She knew it would be a terrible thing to lose these creatures, so she started a crusade, which became a children’s crusade, organized by schools. That might not sound like the most powerful of lobbying forces, but the fight to save the mustang caught the imagination of young people.
When you see a documentary about a beautiful and breathtaking animal, and the film is built around that species facing a crisis of survival, the problem tends to be one of dwindling population. The bald eagle was once that creature (it’s now doing much better). More recently, there has been concern over the vastly diminished population of elephants in Africa.
Here's the problem — and at first, it doesn’t sound like an insurmountable one: There are too many mustangs. Right now, the estimate is that there are close to 80,000 wild horses living on federal lands in the U.S. Simple — and terrible — as that. But once the wild horse population reaches a critical mass (it could be 100,000 to 200,000, or maybe 300,000), they will consume and exhaust all the natural resources around them (i.e., the vegetation they feed on), and there’ll be nothing left. Far too many of them. If you want to know why that’s a problem, it’s simple: Mustangs have no natural predators, so when left on their own, their population will tend to double every four to five years. They will start to die out.
By the '60s, the mustangs were regarded as relics of a bygone era. collapsed, and the horses were turned into dog food, slaughtered and packaged by Ken-L-Ration, a brand recommended by Rin Tin Tin on all his radio shows. We also see the famous clip of Marilyn Monroe, standing on a desert plain, tearfully trying to stop Clark Gable from roping a wild horse in "The Misfits." That film was made in 1961, and it arrived at a moment when the wild horse population was down to around 10,000. Starting in the '20s, the horse market in the U.S. It had been dwindling for decades, going back to the period after World War I, when the horses were suddenly no longer needed for transportation.
We see paintings and photographs of the cowboy culture of the 1800s. And the film shows us how the legend of the wild horse came to life through poster images of Buffalo Bill and dime novels, radio and "The Lone Ranger" — a hero who rides a wild horse he rescued. The first American settlers encountered mustangs in herds they described as being as thick as ocean waves (it would take hours to ride through them). We see old paintings of the first people to capture and ride them, who were Native Americans. That iconic image of the Lone Ranger, his white steed kicking its front legs high up into the air, symbolizes the idea that, as one observer puts it, "The wild horse still couldn’t be conquered. "The Mustangs," directed by Steven Latham and Conrad Stanley (with Gerry Byrne, the Vice-Chairman of PMC, as its consulting producer), is bathed in an alluring romanticism about the place occupied by mustangs in the American past and in American mythology. But it would submit to a person who was true of heart."

Porter began his music career in 1997 with the release of his self-titled debut album, which spawned the hits “Bubbling Under,” “Show Me” and “Love Is On The Way,” which also appeared at the pivotal moment in the film, “First Wives Club.” He went on to release “At the Corner of Broadway + Soul” (2005), “Billy’s Back on Broadway” (2014), and “The Soul of Richard Rodgers” (2017) featuring Pentatonix, India.Arie, Leslie Odom Jr. and Cynthia Erivo, among others.
It’s an honor to welcome him to the Republic Records family in partnership with Island UK.” – His ability to seamlessly shapeshift between entertainment mediums at the highest level of success is just astounding. Wendy Goldstein, Republic Records' president of West Coast creative, said, “Billy is a force of nature!
He won a Tony in the category of Best Leading Actor in a Musical for “Kinky Boots” in 2013 and a Grammy for the show’s soundtrack in 2014. He took home an Emmy for Outstanding Lead Actor in a Drama Series in 2019 for his work as Pray Tell on “Pose.”
Make way children! When I first put out commercial music in 1997, the industry was not ready for all this Black Boy Joy! Daddy’s back.” “Music is my first love,” he continued. “I grew up singing in the church. I could not be more thrilled to entrust this next chapter of my music career to the Island/Republic team. But luckily the world has caught up.
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senior VP Steve Pitron said,  “‘Icon’ is a word that is bandied around far too freely these days, but Billy Porter is without doubt the true definition of the word. I cannot wait for the world to hear the music he has been creating. There is only one Billy Porter. We are truly blessed to be working with an artist of Billy’s calibre – someone who knows what he wants, and who always stands up, and speaks out using his voice and platform to support others. I couldn’t be happier that Island UK and Republic are teaming up for this journey with Billy. Billy is someone who naturally radiates charm, charisma and integrity to all who enter into his orbit, and everyone who meets him always leaves feeling lifted by his inspirational energy. This is his time.”  Island U.K.
ET tonight (Oct. Grammy, Tony and Emmy Award-winning actor-singer Billy Porter has inked a new deal with Island Records (U.K.) and Republic Records (U.S.) and is kicking it off with a new single called “Children” that will drop at 12 a.m. 14).
Speaking about the inspiration behind the track Billy says, “It’s a song that is inspired by my life and everything I’ve gone through to get here.” “Children” is a dancefloor-ready track co-written with veteran British songwriter MNEK (H.E.R., Dua Lipa) and Little Mix’s Jade Thirwell.

Adam Chesnoff, President and COO of Saban Capital Group added: “Bill and Shanan have continued to lead Saban Films to be the fastest growing independent film distributor including fostering global partnerships and acquiring a record number of films for the company.”
Recent Saban titles also include Todd Randall’s "Under the Stadium Lights" starring Laurence Fishburne and Milo Gibson; "Twist" starring Michael Caine, Lena Headey and Rita Ora; and "Happily" starring Joel McHale, Kerry Bishé and Stephen Root.” /> Saban Films’ catalogue includes horror reboot "Wrong Turn" starring Charlotte Vega and Matthew Modine; Brad Furman’s "City of Lies" starring Johnny Depp and Forest Whitaker; and Ian Nelms and Eshom Nelms’ "Fatman" with Mel Gibson.
The new deals keep the two critical executives in the fold. Saban Films President Bill Bromiley and Chief Financial Officer and Chief Operating Officer Shanan Becker have renewed their contracts with the Los Angeles-based global film acquisition and distribution company through the end of 2024. Bromiley and Becker founded the company in May 2014, and during their tenure, Saban Films have released a total of 148 films through the end of 2021.
They have demonstrated a keen ability to execute areas of growth year after year while simultaneously adjusting and capitalizing on current market conditions, increasing the profitability on an annual basis,” said Chairman and CEO of Saban Capital Group Haim Saban. “Bill and Shanan have successfully grown Saban Films since its formation in 2015.
Next year will also see the culmination of Saban Films field 60 releases, doubling the output of films in just two years. Over the last year, Bromiley and Becker have expanded Saban Films’ presence in the industry, boarding a greater number of projects at the script stage and setting distribution deals beyond North America in territories including the United Kingdom and Ireland, France, Germany, Spain, Scandinavia (Denmark, Norway, Sweden, Finland and Iceland), Australia and New Zealand.

What are your thoughts about “Duran Duran” and MTV turning 40 this year?
Without YouTube tutorials, how did you learn to apply your flawless makeup as a teenager?
The idea of going to this secluded island in the Caribbean and having a state-of-the-art recording studio, on paper, seemed to be the most glorious fantasy any musician could have. We went there with every good intention. I need the energy of a city around me. It was ridiculous and impractical. We got the seeds for “Union of the Snake,” “The Reflex” and “New Moon on Monday.” At the same time, we could never have finished the record there. You couldn't call the police every time you needed to get out of a building. We were besieged by hundreds of people. You don't make albums when you're on holiday. At that point in our careers, we couldn't record in London anymore.
By the time I was 19 years old, I was hanging out with him. When I was 14 years old, I had David Bowie on my wall. It was very strange for me, but I was incredibly grateful to have such a creative and inspirational friend.
The aptly titled collection is referential of Duran Duran’s signature sounds, teased out by producer-of-the-moment Erol Alkan. This year marks the 40th anniversary of the eponymous debut release of Duran Duran, with the iconic group also dropping its 15th studio album, “Future Past,” on Oct. Italian disco and EDM composer Giorgio Moroder lends a hand on a couple of songs, and Blur guitarist Graham Coxon brings his inventiveness to the mix. Featured guests on the album include Tove Lo, Ivorian Doll and Japanese band Chai. 22. Duran Duran co-founder and resident tech visionary/image consultant Nick Rhodes talks then and now with Variety.
Can you expound on that experience? In the new documentary “Under the Volcano,” you recall recording at the height of your fame at George Martin’s isolated AIR Studios in the island Montserrat.
Suddenly, we're in front of 15,000 screaming girls. It was a little difficult for me. If you want to find a date, that's the right place to meet them.” /> It was such a complete paradigm shift. We started out as this art school cult band playing songs like “The Chauffeur” and “Night Boat” in nightclubs. That enabled us to somehow quantify it—not that we were particularly like any of those bands, nor am I comparing us to them. It was a culture shock. I was confused by it. One of the first things that happened was the smart guys started to realize there's an awful lot of very cute girls at Duran Duran shows. I watched footage of the Beatles and the Rolling Stones and the Doors who were all pretty decent songwriters and they did okay and their records still sound great.
How do you feel about this change over time? Your popularity started with a primarily female fanbase and grew to a significant male fanbase.
People think we've got these armies behind us who help us do things. When I was 15, 16 years old and first putting on makeup, I was never going to go to somebody else, even one of my aunties and ask, “How exactly do you put that eyeshadow on?” I’d put things on my face and think, “I like the way that looks.” Everything about Duran Duran has always been handmade. We used to go to women's clothing stores to buy girls’ jackets and fabulous scarves, because the only things for men were horrible acrylic suits and V-neck jumpers that your granddad would wear. It was not a lot of fun for the two of us with our bright red jackets, makeup and dyed hair. From the very beginning, it was me and John [Taylor] sitting on the floor with a sketch pad and a few records, coming up with ideas. Practice. John and I used to come home number 50 bus from Barbarella’s at midnight, 1AM on Friday night.
That was the point when most teenagers, girls in particular, were Duran Duran devotees. You seemed like such adults then but you were only a few years older than your fans.
Simon [Le Bon] and I took Andy Warhol with us, had him sit between us taking photographs. MTV feels so much older than us, don’t they? Another time, we took Keith Haring, who painted the entire set. But at the beginning, it was amazing. They never questioned anything. They were quite maverick. If you were in New York, you went to the studio and it was always fun. For the first 10 years or so of our career, it was an incredible channel, inspiring for musicians and fans. When MTV started to move away from music and into reality shows, it lost its focus for us. I haven't really thought about it much since that point.

 
The decision could instead reflect a desire to keep the category to spoken-word standup and disallow satirical music. Similarly, Flight of the Conchords' music EP "The Distant Future" won in 2007. That explanation doesn't necessarily track, either, though, looking at past winners and nominees: There's a history of nominated musical material dating back to the Chipmunks and Stan Freberg getting nods for comedy as far back as 1959, and as recent as "Weird Al" Yankovic's "Mandatory Fun" winning best comedy album as recently as 2015.
In the case of Musgraves' album, which debuted at the top of Billboard's country chart, there was considerably more critical and public discussion leading up the Grammys' controversial decision as to whether "Star-Crossed" felt more like a country or pop album.
The Recording Academy does not make the preliminary ballots that go out to voters public, so controversies over classification usually only become widely known if the artist or label opts to go public with dissatisfaction over the genre they end up in. Billboard said that Burnham's record label, Republic, confirmed the news.
1 on the comedy chart — and has remained in that top spot for its 18 weeks of release — it's not known what the Academy comedy screening committee's rationale for disqualifying it is. Since Burnham's album went to No.
The album will still be put on the preliminary ballot going out to Recording Academy members, but in the category of best compilation soundtrack for visual media instead of comedy album, Billboard reported Thursday. The album is made up of musical material that appeared in Burnham's hit Netflix special, "Inside."
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That was the case Tuesday when a major music news story emerged out of letter that Kacey Musgraves' record company president, Cindy Mabe, wrote to Academy chief Harvey Mason Jr., calling foul on Grammy screening committees' decision to put her "Star-Crossed" album in contention for pop album instead of country album, the category where it'd been submitted by Universal Music Group Nashville.
Variety reported Wednesday on how the deal went down in the reclassification of Musgraves' album. The country screening committee felt that it did not meet the bar of consisting of at least 51% country material, and so sent it over to the pop screening committee to see if they felt it was primarily pop. They, too, decided it belonged in pop. After Mabe and Musgrave's manager, Jason Owen, privately and vehemently objected to it being shifted to pop, the Academy made the unusual decision to bring in the core committee, which usually only oversees the top four general categories. If the pop committee had disagreed, the country committee would have taken the matter back into its hands and likely agreed to keep it in a country category, as submitted. Sunday. But the pop division's screeners agreed it was mostly a pop album. It was after that appeal failed that Mabe wrote the letter to Mason Jr.
 
Republic had submitted the song "All Eyes on You" for best song written for visual media — a category akin to the one the Grammy committee shuffled the album into. That song was also submitted for record of the year, song of the year and best pop solo performance, Billboard reported, along with submissions for the Netflix special as best music film and for the "Inside" full-length recording as album of the year.
Burnham's album would have been a runaway favorite if it had stayed in the comedy album field, given its utter dominance in that arena this year. The Netflix special has been such a popular phenomenon, though, that the album may stand a good chance in the soundtrack category, even though it may seem apples-and-oranges with some of the music score albums it'll be up against.
The fact that that it consists of material recorded for TV instead of an audio medium might be seen as a factor in bumping it to soundtrack contention — if not for the fact that last year's winner, Tiffany Haddish's "Black MItzvah," was also the soundtrack to a Netflix special, as were other contenders last year like Jerry Seinfeld's "23 Hours to Kill" and Bill Bush's "Paper Tiger." In fact, most of the albums nominated for comedy in recent years have been soundtracks to TV or streaming specials.
In the second head-turning Grammy ineligibility decision to be publicized this week, Bo Burnham's "Inside (The Songs)" has been nixed as a contender in the comedy album category for the 2022 Grammys.

Before wrapping up our conversation, Wright drops some hints regarding the upcoming season of HBO's "Westworld," along with some pre-DC FanDome breadcrumbs regarding the new and gritty interpretation of director Matt Reeves' "The Batman," in which he plays Commissioner Gordon opposite Robert Pattinson as the Caped Crusader.
New episodes post every Thursday.” /> Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts. Variety's Oscars edition of the "Awards Circuit" podcast is hosted by Clayton Davis, Michael Schneider, Jazz Tangcay and Jenelle Riley and is your one-stop listen for lively conversations about the best in movies. Each week during Oscar season, "Awards Circuit" features interviews with top film talent and creatives; discussions and debates about awards races and industry headlines; and much, much more.
Also, on this episode: Jeffrey Wright, an Emmy and Tony Award winner, discusses his role in Wes Anderson's new movie, "The French Dispatch," where he plays Roebuck Wright, an amalgamation of James Baldwin and A.J. His hilarious and scene-stealing turn has led him to be cast for the next Anderson project, currently shooting. Liebling. He's been best known for his memorable roles in films such as "Broken Flowers" and "The Hunger Games" franchise and has been receiving supporting actor awards buzz since the film debuted at the Cannes and Telluride Film Festivals earlier this year.
Listen to the full interview with Isaac in the latest edition of Variety's Awards Circuit Podcast below:
He continues by talking about sending an email to co-writer, producer and director Denis Villeneuve for a chance to have a role in "Dune," which led to a surprising music-loving connection with his on-screen son Timothée Chalamet. The two developed a powerful bond, recommending books to one another and developing a substantial friendship. On this edition of the Variety's Awards Circuit Podcast, Isaac sits down to discuss various topics, including his chemistry with his co-star Tiffany Haddish in the Focus Features' "The Card Counter," where he plays an ex-military prisoner and a traveling gambler with a checkered past.
Knowing firsthand about the hustle of making it in Hollywood, both as a Latino and wanting to "be seen" by his peers, he's mindful of choosing projects and keeping his family first and foremost. Oscar Isaac is one of the hottest actors working in Hollywood, showcased by his distinct and invigorating performances in films such as "The Card Counter" from Paul Schrader, "Dune" from Denis Villeneuve and "Scenes from a Marriage," the limited series that just completed its run on HBO.
In addition, we're talking about the lack of women of color being considered contenders for the best actress race. And in the Variety Awards Circuit Roundtable, the panel is discussing Ben Affleck's roles in Ridley Scott's "The Last Duel," which opens in theaters this weekend, and George Clooney's "The Tender Bar," which screened for BAFTA and attendees of the BFI London Film Festival recently. This category still has only one winner, with Halle Berry ("Monster's Ball") in 2002.
I found so much room to do things that I've never done before and had been curious about and wanting to do. I could not wait to get to set, and it was the biggest workload I've ever had in my career and most challenging; by the sheer amount of stuff we had to do in eight months, and even yet, I couldn't wait to get to set and work." Isaac talks working with his "A Most Violent Year" co-star Jessica Chastain on the HBO limited series "Scenes from a Marriage," a reimagining of the Ingmar Bergman classic film, touching a bit on the nudity scene (and the hint of it given in "Dune") that's had social media buzzing. "Speaking with Kevin [Feige], I told him I'm going to come in with these big ideas, and if you don't like them, that's fair," he says. "And immediately, we saw it all. The 42-year-old actor then drops subtle hints and information regarding his upcoming role in the superhero series, "Moon Knight," the latest venture from Marvel Studios, which just wrapped shooting.

We were super curious about the emotional and practical dynamics of what would happen after that dramatic intervention that Kendall made. We thought it was interesting to find out as a writers’ room. I love what Brian did with that.
Is that distinction as important to the writers’ room as it is to him, especially in Season 3 when Logan is waging war on his "No. 1 boy"? Brian Cox has said that in order to take the role of Logan, he needed to know from you whether Logan loves his kids, and that your answer was yes.
I think there’ll be an end for me in this incarnation of the show in…’” and then you paused, it says: ‘In a bit.’” What does “in a bit” mean?     In the profile of you in the New Statesman, you said: “‘There’s going to be a very definite moment when that story is over…and it can’t go on too long.
I think the creative spirit kind of always wants to say, "No — there's just this one way of going, and that's what we follow." It's true that the big, strong tide of what we're doing is the agenda we set for ourselves in the writers’ room. It's interesting what the true answer is to that. What we're interested in, what character stuff we want to follow, what business stuff feels like is reflective of the big tech and media currents in the world.
It’s important for me, I think, as a showrunner to have a pitch for my fellow collaborators, especially the writers. But it's not immutable. That's up for discussion. But I do have a pitch for how I think it goes.
Just putting that out there! Well, the opening credits tease Logan in his prime, and the kids as teenagers — which seems incredible to me.
Yes!
There’s a certain amount of post-traumatic stress in America about the possibilities of what could have happened, and what people still feel did happen. So I think this show has been formed by the Trump era. I guess Trump is gone, but the shape that he gave to the American political and social environment — that still resonates. And I think now even though we're past the Trump presidency, we're not really past that era until normal, democratic politics where people accept the outcomes of elections resumes.
And yet, now I know from watching the first episode with an audience last night, there's an alchemy that happens when the rubber hits the road, when the episode is transmitted that means you get a different sense of how it's connecting with the world. I'm talking to you from the edit now; I've watched these episodes a million times.
What did you mean by those two inspirations? “Succession” wrestles with themes about family and power — in the Guardian, you said the idea for it was “something like 'Dallas' meets 'Festen,'” (or “The Celebration” in the U.S).
13, 2019, with the propulsive episode “This Is Not for Tears.” Logan Roy (Brian Cox), the family patriarch and CEO of Waystar RoyCo, has asked his erratic, striving son Kendall (Jeremy Strong) to take the fall — make a “blood sacrifice,” as Logan calls it — for the company’s cruise division, which has covered up deaths, rapes and sexual harassment. The “Succession” Season 2 finale aired on HBO on Oct. Instead, at the press conference at which Kendall is meant to fall on his sword, he implicates Logan: “This is the day his reign ends.”
Since it was last on television, “Succession” won seven Emmys for its second season, including the top prize for outstanding drama and actor for Strong. More than two years later, after a long delay because of the global pandemic, the nine-episode new season of “Succession,” will premiere on Sunday.
We know that what “Dallas” is — it's a big, glossy family business wrestling battle, which is very vivid, and very enjoyable. And so I wanted that element, the family melodrama of succession — power. And it feels very real; it has documentary-derived kind of camerawork. And it's also a family. Handheld, no score — all the Dogme rules. And "Festen" is one of the originals Dogme movies.
When will the show end sort of thing?  
Should we read into the phrasing "this incarnation of the show"? Are there other "Succession" stories that you might want to tell?
What we strive to do is have characters who are as complex as your own mom and dad, as your friends and neighbors. And the fact that he loves his kids, I have no hesitation in saying that. I think it's really important for us in the room to know those emotional touchstones. It doesn't mean that he can't behave in unusual ways that might seem cruel or perverse from the outside.
I think the truth is I'm aware of that stuff. But I'm aware that thinking about it too much will not produce the desired effect for people who are enjoying the show or for people who are making it.
What's it like to create that character? He’s like an open wound. What’s it like for you and the writers to write Kendall, with his wild emotional fluctuations, and kind of ridiculous affectations?    
This interview has been edited and condensed.” />
  They've enjoyed them because we've done something interesting with them. Trying to replicate that would be no fun for them or us. I'd like as many people as possible to watch and enjoy it. I am aware that people's enthusiasm has grown for the show, and that's really gratifying. It's not useful on a micro level to think about suggestions, or which characters or which dynamics people enjoy.
Its family feels super real, because of the way it's shot. You've got that added level of interest — that it's like observing an event, rather than having it presented to you in a traditional TV way, so that hopefully, as an audience, you know you have to be watching the whole time. Because stuff's going to be happening, and the camera is not necessarily going to be directing you precisely to what to you should be paying attention to. The thing that appealed to me about "Festen" was stylistic and also thematic. You can do your own investigation into whatever you're interested in that's presented on the screen. And you feel that you're there with these characters. We often try and do is a concentrated time period.
Do you pay attention to that and to what parts the audience is responding to?   The show’s audience grew through Season 1 and exploded in Season 2 — especially online. Do you write toward that at all?
No! It sounds more mysterious than I think I intended. I don't envisage a spinoff, personally. But I think that sounds more gnomic than I intended.
In Season 3, the dynamics of the Roy family have been reset: Logan is destabilized (but still a powerhouse); Kendall is invigorated (but has no real plan); and the rest of the family — Shiv (Sarah Snook), Roman (Kieran Culkin) and Connor (Alan Ruck) — are all jostling for power and clout. Also buzzing around the Roys are the hapless Cousin Greg (Nicholas Braun), Shiv's husband Tom (Matthew Macfadyen) and Waystar loyalist Gerri (J. Smith-Cameron).
There's an election happening in Season 3. But do you feel like "Succession" plays differently in the post-Trump era?
People don't just do one thing, do they? So yeah, it's really important for us to know those things. Logan has love for his children, but that's not a feeling that suffuses his every action. And sometimes they express what they feel in unusual ways. It's also important to know that people are full of contradictions, and that they don't always express what they feel.
All I know is there's a promise in the "Succession" title, and it can't go on forever. I don't want to say. I don't have a good definitive answer to that.
How does that connect with where Logan starts off in Season 3? When Season 2 ended, it seemed like the final shot of Logan's Mona Lise smile implied that he was proud that Kendall had finally showed a true killer instinct.  
It's like, 'What would happen to him, and how would that feel?' What you're describing is the experience of watching him do that stuff. That's a different way from how we approach it, which tries to be from the inside out — if that doesn't sound too highfalutin. Without being too earnest, I guess we try and write him from the inside out. And it's not like we see him as a subject or a puppet to be played with or toyed with. I don't find enjoyment in the idea of putting him through his paces, or his suffering. Like the other characters, he just feels very real to us.
This week, the day after the show’s premiere in New York City, Variety spoke with series creator Jesse Armstrong about where we find the show’s characters as the season begins, some of the show's inspirations and how "Succession" might land post-Trump. It’s a wonderful thing.
Do you know in your mind what happens in the series finale, whenever that is?

The musical follows two star-crossed lovers searching for peace in 21st century Verona as the newly elected chancellor Paris sets out to destroy the city’s progressive resistance movement.
“Their legendary music is integral to the lives of millions worldwide and across generations. As we set out to reimagine the most revered love story in history, we knew we needed the mastery of Scott Schwartz, the inventiveness of Jesse Vargas and the imaginations of Lauren Yalango-Grant and Christopher Grant. Giraldo,” said Cesa. Bradley Bredeweg’s inspired vision to weave Pat and Neil’s powerful anthems and stirring ballads through ‘Romeo and Juliet’ is a formidable task. The dedication and perseverance of this remarkable group of artists affords me the opportunity to introduce — with tremendous joy and pride — ‘Invincible: The Musical.’”
“The opportunity to work with such creative and talented artists is inspirational. We’re thrilled that live performances have started again, and grateful for the opportunity to showcase ‘Invincible: The Musical’ in front of an audience where it belongs.” The recent shutdown allowed us the time to expand this new production into something more extraordinary than we ever imagined. “When we first began this musical journey, we had no idea where it would take us,” Benatar and Giraldo said. It’s so exciting to see the songs we’ve performed for 42 years morph and fit so beautifully into the story we’ve always cherished.
Jamie Cesa and Bel Chiasso Entertainment are the producers. Named for Benatar’s famous 1985 single, “Invincible” features music from both Benatar and Neil Giraldo, with book by Bradley Bredeweg, direction by Scott Schwartz, choreography by Lauren Yalango-Grant and Christopher Grant, orchestrations by Neil Giraldo and music direction and arrangements by Jesse Vargas.
10-12. “Invincible: The Musical,” Pat Benatar and Neil Giraldo’s Broadway-bound show based on “Romeo and Juliet,” will have an invite-only industry presentation at The Bourbon Room in Los Angeles Nov.
“I’m delighted and honored to be working side-by-side with Pat Benatar and Neil
They have sold over thirty million records worldwide and won four consecutive Grammy awards and three American Music awards. Over four decades, husband and wife Benatar and Giraldo have produced two multi-platinum, five platinum and three gold albums, as well as nineteen Top 40 hits. Along with “Invincible,” they are known for songs such as “We Belong,” ” “Love Is A Battlefield,” “Promises In The Dark,” “Heartbreaker,” “Hell Is For Children” and “We Live For Love.”” />