Director Rob Cohen Would Like To Return To ‘Fast And Furious’ Franchise

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Rob Cohen's nearly 40 years in Hollywood have been filled with ups and downs. He started off as a script reader for Universal, his big break was discovering the screenplay to eventual 1973 Best Picture Winner "The Sting." His immersion into producing during the late 70s was a little more problematic ("The Wiz" and "The Bingo Long Traveling All-Stars" & "Motor Kings.") it wasn't until he set his sights on directing that Cohen fully immersed himself into the Hollywood conversation, disregarding "Dragonheart" and "Daylight," he eventually made "The Fast and the Furious" which had unknowns Vin Diesel, Paul Walker and Michelle Rodriguez taking America by storm and forever changing blockbuster landscape. Cohen was, more or less, the driving force behind that vision, creating the characters and shaping the setting, but ever since then, and 7 sequels later in that franchise, he hasn't taken part in any of the success of that franchise except for the fact that the characters he created are probably still earning him copyright paychecks with every sequel released.

 Speaking to Screen Crush, while promoting his latest film "Hurricane Heist," Cohen looked back on how the Fast and the Furious has evolved over the years:

"The franchise went from a Los Angeles story built around a family of multicultural brothers and sisters to what I’ll call “pure spectacle.” The beauty is that the audience has ridden along with it for these 18 years. I’m very proud that the characters I created in 2001 are still in the lexicon. There‘s still a Dominic Toretto appearing every two years, or a Mia Toretto, or a Letty. It had to evolve, and it evolved in a way that was ultra-worldwide commercial. And the heartbeat of it is: We live in a world with no gravity, cars can do anything. They can burst out of the nose of airplanes. People can jump across freeways. They can take down helicopters. It’s like, “Okay, anything for the spectacle. They spend $350 million on these movies, so they’ve got the money to pull this stuff off. And the audience is eating it up. The last one still did $1.25 billion. For my kids’ college fund, I’m very happy that it’s had this longevity. I started out to do a different thing, but the thing that I did implant this world and these characters deeply in that audience. And they’re still coming for a hit of it. And most of the time when you go on the internet and [read] “Which was the best Fast & Furious?” It’s almost always mine."

I'm not sure yours was the best Rob, but it started the trend. I rather think the franchise went a whole notch higher in quality when Dwayne Johnson came into the equation. In fact, pound for pound, I still maintain that "Fast Five" is the best movie of the eight released. It's not even close. The Rio setting, the fact that it was a heist, it introduced us to The Rock's Hobbs and also having, by far, the best direction, courtesy of Justin Lin, of any film in the franchise. Yeah, "Fast Five" rocked and even

The obvious question next question to ask Cohen would be if he would ever want to come back and direct another Fast and the Furious film, his answer:

 "I always wished Universal would come back to me to direct the last one. If they ever make a last one. If Comcast’s Board of Directors ever allows them to end the goose that laid the golden egg."

 Fair enough, but, at this point in time, Cohen's directorial style is far removed from the hip and stylish F&F films that have been released since "Fast Five." As much as he started the franchise, it would be an odd choice to have him direct any of these upcoming sequels. Cohen has been in a major slump since directing Vin Diesel in "xXx" back in 2002, having followed that box-office success with "Stealth," "The Mummy: Tomb of the Dragon Emperor," "Alex Cross," and "The Boy Next Door," the latter, starring Jennifer Lopez as a woman stalked by a younger romantic fling, being the worst of the lot. He now has "Hurricane Heist," which, quite frankly, doesn't look like it'll break off his 16-year streak of bad movies.

 "The Hurricane Heist" opens in theaters this Friday, March 9.

Box Office Week: Black Panther keeps its domination in the BO entering as 10th movie of all time

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"Black Panther" had its earnings only fall by 41% in its, quite frankly, astonishing third week at the box-office. It made $65.7 million, the third highest third weekend total ever. After only 17 since its release, “Black Panther” has grossed $501 million domestically. 
The film is now the 10th highest grossing movie of all time and is aiming to surpass “Star Wars: The Last Jedi,” ($619M).
Despite grossing nearly $900 million globally, “Black Panther” seems to be a domestic hit more than worldwide: 55.8% Of its worldwide gross is coming from the United States. According to Rodrigo Perez over at The Playlist, "All Marvel films usually skew in and around, say, 63% international vs. 37% domestic. In fact, the last time a Marvel film’s worldwide total favored domestic percentages was “Iron Man 2” in 2010, and even then it was only a 51/49% split."
Despite my reservations about the film, I can't help but cheer"Black Panther.” The enormity of what this could mean for black cinema, African-American filmmakers, diversity, is almost unexplainable. Never have we witnessed such a story of success through African-American cinema at the Box-Office before.
1. BlackPanther—$65.7M ($501.1M)
2. Red Sparrow —$17M
3. Death Wish —$13M
4. Game Night —$10.7M/$33.5M
5. Peter Rabbit —$10M/$84M
6. Annihilation —$5.7M/$20.6M
7. Jumanji: Welcome to the Jungle —$4.5M/$393.2M
8. Fifty Shades Freed —$3.3M/$95.6M
9. The Greatest Showman —$2.7M/$164.6M
10. Every Day — $1.6M/$5.3M

Daisy Ridley says Rian Johnson took JJ Abrams’ script of “The Last Jedi” and “didn’t keep anything”

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Many Star Wars fans have had a particularly valid complaint for a few years now, they claim that Lucasfilm doesn't seem to have a clear narrative arc for the trilogy at hand and that all Kathleen Kennedy and company are doing is winging the plot details movie by movie. There have been clues to this being, in fact, true, the creatives writing the screenplays only after each movie has been released. However, in a new interview, Daisy Ridley is stating that not to be the case at all, in fact, she claims that J. J. Abrams had a planned screenplay for "The Last Jedi" before "The Force Awakens" – but that Johnson deviated from it.

Ridley was interviewed by Le Magazine GEEK (which I have translated thanks to my impeccable French skills), she was asked about whether or not Rey’s backstory had been decided before "The Force Awakens" or only after it wrapped up.  Ridley couldn't answer that particular question, but she did mention that the writing process had the whole trilogy planned by Abrams:

“Here’s what I think I know. J. J. wrote Episode VII, as well as drafts for VIII & IX. Then Rian Johnson arrived and wrote TLJ entirely. I believe there was some sort of general consensus on the main lines of the trilogy, but apart from that, every director writes and realizes his film in his own way. Rian Johnson and J. J. Abrams met to discuss all of this, although Episode VIII is still his very own work. I believe Rian didn’t keep anything from the first draft of Episode VIII."

What I gathered from Ridley's carefully constructed wording is that Johnson took Abrams' draft of "The Last Jedi" and that Rian, according to her, "didn't keep anything from the first draft of "The Last Jedi." Yikes. 

I asked a friend that works for the Disney/Lucasfilm team to clarify what might have happened, this is what she had to say: "It's my understanding that he wrote treatments to VIII and IX before finishing VII, but Disney gave Rian the choice on whether he wanted to use any. Rian decided to start fresh."

Johnson could have easily taken over the director's chair for Episode IX, but Disney decided otherwise. They opted for Abrams, who is the brainchild behind this saga and probably saw Johnson starting to interfere with his original vision of the way things should go.  Johnson's risk-taking was a breath of fresh air but something tells me that we'll be back to business as usual with Abrams come Episode IX's release in 2019.

Oscars: Live Blogging

11:50 pm "The Shape of Water" wins but we'll always have "Phantom Thread" and "Get Out."

 11:37 pm: Whether you loved or hated "Three Billboards," how can anyone seriously complain about Frances McDormand winning another Oscar?

 11:15 pm: Guillermo del Toro wins for "The Shape of Water," nice guy.

 11:01 pm: Desplat winning over Johnny Greenwood is going to be remembered as a travesty for decades to come.

10:54 pm: Roger Deakins finally winning that Oscar on the same night as Kobe Bryant must feel a little, er, unsatisfying

10:39 pm: Jordan Peele winning Best Original Screenplay for "Get Out" is not a joke. His film was filled with the most bitingly brilliant and relevant social satire we've witnessed at the movies in years. No other movie should have won.

10:34 pm: There was no greater screenplay adaptation this year than James Ivory's stunning, subtle and sumptuous "Call Me By Your Name."

10:09 pm: Well it's only fair someone mispronounces Tiffany Haddish's name

 9:43 pm: Kobe Bryant: ONE Oscar. Jean-Luc Godard: ZERO Oscars. David Lynch: ZERO Oscars. Pedro Almodóvar: ZERO Oscars. David Cronenberg: ZERO Oscars. Alfred Hitchcock: ZERO Oscars. Robert Altman: ZERO Oscars. Sidney Lumet: ZERO Oscars. Howard Hawks: ZERO Oscars.

9:35 pm: The risky, indomitable "A Fantastic Woman" wins Foreign Language. Not complaining, but "The Square" was just more my cup of tea. Ditto "The Square," Israel's "Foxtrot," and unfairly shunned "BPM."

9:32 pm: Predictably, Allison Janney wins supporting actress for "I, Tonya." Metcalf was robbed.

9:13 pm: Someone start the petition NOW for Kumail Nanjiani to host next year's

9:01 pm: Tone-deaf Christopher Nolan and his "Dunkirk," will most likely clean up and win every sound award tonight, which begs me to ask the question, are the sound categories rigged?

8:42 pm: Agnes Varda, a cinematic icon, Oscar-nominated for the first time, loses for her incredible achievement "Faces Places." That says it all.

8:37 pm: Eva Marie Saint, at 93, brought in more laughs than Jimmy Kimmel

8:35 pm: So let me get this straight, Winston Churchill's chin won an Oscar?

8:22 pm: Loved that Rockwell shout-out to the timeless, legendary Phillip Seymour Hoffman.

8:20 pm Sam Rockwell, a marvelous character actor ("Moon," "The Green Mile," "The Way Way Back," "Matchstick Men") wins Supporting Actor for a great performance in "Three Billboards," but my heart will always be with Willem Dafoe and "The Florida Project."

Mark Hamill doesn't believe Luke is dead

Luke confronting Kylo Ren in The Last Jedi

 Once "The Last Jedi" ended and the credits rolled we were all left wondering the same question: Was Luke Skywalker really dead? Luke’s fate was, of course, delivered to us at the end of an exhilarating, and series-changing, third act in "The Last Jedi " Luke had, more or less, given in to the Force and found a way to create a hologram of himself while fighting Kylo Ren, it was all part of a distraction so that the resistance could sneak away. Eventually, as the fight came to its apex,  Luke’s physical being disappeared, Jedi robe flying into the wind, having used so much of the force that the movie hinted he probably died.

 Hamill's career-peak performance as the famous Jedi in the 8th film of the "Star Wars" saga had many fans riled up and upset over the way director Rian Johnson portrayed the simple Tatooine farmboy turned savior of the galaxy. However, don't tell that to Mark Hamill, who rather believes Luke is alive and well, and that he actually just teleported to the most peculiar of places.

 In an interview with the BBC, Hamill discussed Skywalker’s fate saying “I refuse to believe that he’s gone. My theory is he just teleported to somewhere else and left his robe behind. He teleported to a nudist colony, that’s what I’m hoping.”

 Of course, Hamill was half-jokingly making these remarks, but there is also, no doubt, some truth in his statement. He obviously doesn't want to believe Skywalker is gone forever, and, maybe he's hoping that, who knows, maybe director JJ Abrams might bring him back for the concluding chapter in 2019. Luke teleporting into some other place would logically work. Disney XD’s "Star Wars Rebels" brought forth teleportation at the forefront of "Star Wars," so if Abrams does really want to bring back Luke in Episode IX, it wouldn't be so far-fetched an idea, but just don't expect him to be at a nudist colony. No, he's probably in a peaceful, zen-like place where you can hear the sounds of the ocean waves a short distance away, oh, and there definitely is no sight of Rey to be seen.

 It would feel almost sacrilege not to bring back Hamill for the final chapter as I am sure many are expecting Abrams to do in his upcoming, much-anticipated film. At the very least, if Luke is dead, just like Obi-Wan Kenobi and Yoda before him, maybe Luke can return as a Force ghost. The aforementioned Jedis all left behind their robes dancing in the wind as well in their death scenes.

Winners: The 90th Academy Awards



Best Motion Picture of the Year
The Shape of Water
Achievement in Directing
The Shape of Water – Guillermo del Toro
Performance by an Actor in a Leading Role
Gary Oldman – Darkest Hour
Performance by an Actress in a Leading Role
Frances McDormand – Three Billboards outside Ebbing, Missouri
Performance by an Actress in a Supporting Role
Allison Janney – I, Tonya
Performance by an Actor in a Supporting Role
Sam Rockwell – Three Billboards Outside Ebbing, Missouri
Achievement in Cinematography
Blade Runner 2049 – Roger A. Deakins
Original Screenplay
Get Out by Jordan Peele
Adapted Screenplay
Call Me By Your Name by James Ivory
Achievement in Film Editing
Dunkirk – Lee Smith
Achievement in Music (Original Score)
The Shape of Water Alexandre Desplat
Best Foreign Language Film of the Year
A Fantastic Woman – Chile
Best Documentary Feature
Icarus – Bryan Fogel and Dan Cogan
Achievement in Production Design
The Shape of Water Production Design: – Paul Denham Austerberry; Set Decoration: Shane Vieau and Jeff Melvin
Achievement in Costume Design
Phantom Thread – Mark Bridges
Achievement in Sound Editing
Dunkirk – Richard King and Alex Gibson
Achievement in Sound Mixing
Dunkirk – Mark Weingarten, Gregg Landaker and Gary A. Rizzo
Achievement in Visual Effects
Blade Runner 2049 – John Nelson, Gerd Nefzer, Paul Lambert and Richard R. Hoover
Achievement in Makeup and Hairstyling
Darkest Hour – Kazuhiro Tsuji, David Malinowski and Lucy Sibbick
Achievement in Music (Original Song)
Remember Me from Coco
Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
Best Documentary Short Subject
Heaven Is a Traffic Jam on the 405 Frank Stiefel
Best Live Action Short Film
The Silent Child Chris Overton and Rachel Shenton
Best Animated Short Film
Dear Basketball Glen Keane and Kobe Bryant

As she was presenting an award, Kim Basinger called out the Academy at the 1990 Oscars for not nominating Spike Lee’s “Do the Right Thing”

At the 1990 Academy Awards ceremony, actress Kim Basinger caused a stir when she used her brief moment on camera to criticize the Academy of Motion Picture Arts and Sciences for its failure to nominate what she believed to be the best film of the year for the “Best Picture” prize. 

Before fulfilling her original role of introducing "Dead Poets Society" as one of the nominees for the top prize, she declared to the audience: 

“We’ve got five great films here, and they’re great for one reason: because they tell the truth. But there is one film missing from this list that deserves to be on it because, ironically, it might tell the biggest truth of all. And that’s "Do the Right Thing.” 

Basinger was not alone in her conviction that the Academy’s failure to recognize the greatness of Spike Lee’s third feature film constituted an injustice. Do the Right Thing was featured on 81 film critics’ “top ten films of 1989” lists and has become Lee’s most fondly remembered work, yet it only received two Oscar nominations: best original screenplay and best actor in a supporting role, both of which it lost. To this day, Spike Lee argues that the Academy snubbed his film because of racial bias. He claims that the predominantly white Academy members were unwilling to seriously consider a film that told its story from a non-white perspective and focused on uncomfortable themes regarding race.

This led to an overcompensation with the Oscars showering "Boyz in the Hood" and "Malcolm X" (both great movies) with more love than they would normally have gotten, but the Oscars in general until recently have had a hard time with black movies. The fact that "Hoop Dreams "wasn't nominated for best documentary has still gotta be one of the biggest snubs in ooscar history

"Do The Right" Thing should have won best picture, and Spike should have won Best director and Public Enemy should have won best original song for "Fight the Power." History frowns upon Hollywood for not getting it right that year and rewarding "Driving Miss Daisy," a film which adhered to Uncle Tom moralities when it came to racial divide, the Best Picture Oscar.

The upset to end all upsets?

I recorded a discussion a couple of hours ago with Hollywood Elsewhere's Jeffrey Wells. 78 minutes. My insect antennae is telling me that Jordan Peele‘s Get Out will pull off “the upset to end all upsets” when it comes to the Best Picture Oscar. Wells doesn't want none of that, he says “nah. Peele’s only real shot is possibly winning Best Original Screenplay, despite most oddsmakers betting that Martin McDonagh‘s Three Billboards has this award in the bag."

Wells goes on to say:

"But if Get Out wins…well, there will no joy in HE Mudville, I can tell you that. There will be, in fact, a great weeping and pulling of hair and refrigerator-punching…a great bellowing howl that will stand up to the legendary wailings of John Lennon during his primal scream period. If this happens I’m going to tap something out for the column but I’ll also record some thoughts verbally and post the mp3 as a form of post-traumatic therapy."

"All I know is that apart from the sentimental embarrassments (Chicago, The King’s Speech, The Artist, The Greatest Show on Earth, Driving Miss Daisy, Around The World in 80 Days), the idea behind any Best Picture selection is to somehow self-define, to capture cultural echoes, to say “this is a piece of who and what we are right now…not a profound summary of our contadictory drives and longings, but at least a partial reflection of same.”

"This spotty, imperfect but occasionally honorable tradition will come under question if Peele’s film, a “trite get-whitey movie…a mixture of Guess Who’s Coming To Dinner and Meet The Fockers with B-level horror” (per Harmin’ Armond), takes the big prize."

"If an emissary from the future had pulled me aside as I walked out of a Get Out screening at the Pacific Grove on 2.24.17 and said, “Jeff, you don’t know me from Adam and you obviously don’t have to trust me, but I’m telling you that a year from now Get Out is going to be a leading Best Picture contender, and may even win come March 4th, 2018″…if someone had looked me in the eye and said that in all sincerity I would have said “no offense, brah, but I really, really don’t think so.”

Director friend: “How the fuck will Get Out win Best Picture and nothing else? That’s insane. Or if it does what Spotlight did and wins Script/Picture, but still that’s sheer insanity.”

Oscar Talk 2018
Jeffrey Wells and Jordan Ruimy
Download

The curious fate of Woody Allen’s “Wonder Wheel.”

Is it a coincidence that "Wonder Wheel" is Woody Allen's lowest-rated movie EVER on RottenTomatoes? 31% - Ridiculous. Of course, we all know the rotten reviews have nothing to do with the film itself....there have been, at the very least, a dozen Woody pictures that were worse than "Wonder Wheel."  "Magic in the Moonlight," "To Rome With Love," "You Will Meet A Tall, Dark Stranger," "Whatever Works," "Cassandra's Dream," Scoop," "Melinda & Melinda," "Anything Else," "Celebrity," "Shadows and Fog," and "September."

From my B graded October 2017 review:

"Vittorio Storaro‘s cinematography is incredible.  There are some scenes where he uses the light in a given room so well, and in a way that’s very similar to the way he brought out colors to rooms in The Conformist. This is exceptional work from a true master of the form. As much as I hope Deakins wins that Oscar, Storaro deserves it way more."

Faye Dunaway, Warren Beatty will Present the Best Picture Oscar, Again

After the unmitigated embarrassment that happened at last year's Oscars, the Academy probably felt like it would be a good idea to, you know, bring back the people that were part of the fuck-up.  

TMZ is reporting that, yes indeed, Warren Beatty and Faye Dunaway will, yet again, present Best picture at this Sunday's 90th Academy Awards. Also, this time around "La La Land." and "Moonlight" will not be part of the nominees. Phew.

Dunaway and Beatty both just rehearsed at the Dolby Theatre yesterday morning. Again, from TMZ:

"We're told they were shuffled onstage together very quickly to run through their bit.  They went through their lines twice. She began by saying, "Presenting is better the second time around,"  Beatty followed up with, "The winner is 'Gone with the Wind.'"We're told the writers are still putting finishing touches on their lines."

Disney's six new UNTITLED MARVEL FILMS have been dated: 5/7/21, 7/30/21, 11/5/21, 2/18/22, 5/6/22, 7/29/22

MCU

Earlier today Disney had announced a slew of dates from upcoming movies on their slate. They delayed "Mulan" until 2020 and moved "Avengers: Infinity War" up a week from May 4th, 2018 to April 26th. If you want more about these shifts, Collider has concisely approached coverage of it.

However, undoubtedly, the most intriguing part of the calendar were the six untitled Marvel movies post- "Avengers: Infinity War"

Untitled: May 1st, 2020
Untitled: July 31st, 2020
Untitled: Nov 6th, 2020
Untitled: May 7th, 2021
Untitled: July 30th, 2021
Untitled: November 5th, 2021
Untitled: February 18th, 2022
Untitled: May 6th, 2022
Untitled: July 29th, 2022
"Doctor Strange 2," "Guardians Vol 3," "Ant-Man 3," "Captain Marvel 2," "Black Panther 2" are all 100% there. Spider-Man is not because that's Sony.

Let's speculate wildly, shall we?
Here are three more films that might show up:

  • "Avengers 5" (Whoever is left) should be one.
  • "Black Widow"
  • My guess is that James Gunn may want to take a crack at Moon Knight when he's done with Guardians, so that's my 3.

My predictions:
Guardians Vol. 3: May 1st, 2020
Dr. Strange 2: July 31st, 2020
Black Widow: Nov 6th, 2020
Black Panther 2: May 7th, 2021
Ant-Man 3: July 30th, 2021
Moon Knight: November 5th, 2021
Captain Marvel 2: February 18th, 2022
Fantastic Four: May 6th, 2022
Avengers 5: July 29th, 2022

“Three Billboards” re-analyzed

The more I think about Three Billboards Outside Ebbing, Missouri, the more I like it. I have to admit the lack of any sort of conventional narrative structure had originally made me say the film was a "mess," but It really is an actor's showcase. Still a mess? Yes, but some truly incredible sequences. There are in the film around 4-5 of the very best scenes of any movie from 2017. The film could have easily had Harrelson in the running as well for Supporting Actor, that is if it weren't for Rockwell's stunning work.

Kristen Wiig set to star as main villain in “Wonder Woman 2"

New Wonder Woman 2 fan-art shows what Kristen Wiig could look like if she takes the villainous role of Cheetah.

With the mega-success of last summer's "Wonder Woman" fresh under their belt, Warner Bros. looks to have found the Amazon-based super heroine's next arch nemesis. 

Variety is reporting that Kristen Wiig is the top choice, and will most likely, play the villain role of Cheetah in the “Wonder Woman” sequel. Its star Gal Gadot and director Patty Jenkins are both set to return for the sequel. Warner Bros. had no comment on the rumor. 

The casting of Wiig basically says that the tone of the next film will still very much be, if not more so, about not taking itself too seriously, a loose, infectious style which worked very well in the original. 

Wiig has starred in dramas before but has always brought to these, more serious movies, a depth of deadpan humor that felt all her own. After all, You can't cast Kristen Wiig without, you know, getting a Wiig-esque performance.  

Wiig will also star in the upcoming Annapurna film “Where’d You Go, Bernadette?” which is being directed by Richard Linklater. 

Insiders have said that the 44-year-old actress was "always high on Jenkins’ list for the part and had let Wiig know about her interest before Jenkins left to location scout for the project." 

"Wonder Woman" is set for a November 1st, 2019 release date. 

Karl Urban ‘Confident’ Star Trek 4 Will Start Filming Within Next Year

Earlier this afternoon, our own Paul Shirey sat down for an exclusive fireside chat with THOR: RAGNAROK and ACTS OF VENGEANCE actor Karl Urban. During that time, Urban spoke with us about his upcoming role as Danny Gallagher in the Bobby Moresco-directed crime thriller BENT. In addition to learning some new details about his new movie, Urban also touched upon the status of seeing him as Dredd, sometime down the line, as well as talk of which superhero character he'd be willing to play, should the opportunity arise.

We'll have the entire interview available soon, though for now, we'd like to offer this bit as a taste of what's to come: When asked if there are any talks or movement on seeing Doc McCoy back on the big screen, Urban replied by saying "It’s really a question for Paramount (laughs). But, that being said, I have such a blast working on those STAR TREK movies. You know, that cast, we’re like family at this point. I’m pretty confident within, hopefully the next year, that we’ll be back on the set." As you're likely to be aware, Urban stepped onto the STAR TREK scene in 2009, when Hollywood creative J.J. Abrams rebooted the franchise to much acclaim from both fans and critics alike. After appearing as the good doctor for a total of three films, so far, Urban has since moved on to star in other worthwhile projects across the cinematic spectrum. For his next film, Urban will star in BENT alongside MODERN FAMILY's Sofia Vergara and THE UNTOUCHABLES actor Andy Garcia. The new film opens with Urban's Gallagher, a shamed former cop turned private investigator, who connects a murder case to a government conspiracy involving rogue agents from a top spy agency. BENT will make its debut in select theaters and on Demand this Friday, March 9th. Be sure to check back with us for the full interview with Karl Urban in the coming days.

[JOBLO]