I’ve added scans of Max from his spread in Esquire (Singapore) as well as photos from the photo session. Enjoy!
The Handmaid’s Tale is set to return for season three on Wednesday, June 5, with three new episodes, and subsequent shows released every Wednesday, Hulu announced at TCA today.
That means that the Emmy-winning series will not be eligible for the 2019 Primetime Awards.
“We wanted to give the show as much time as possible to maintain the quality,” Hulu SVP of Originals Craig Erwich said at TCA about the decision to delay Handmaid’s Season 3 premiere. He added that he has seen the first two episodes of the upcoming season, and they are “spectacular”.
The 13-episode third season of the drama series will follow June’s resistance to the dystopian regime of Gilead and her struggle to strike back against overwhelming odds.
Viewers can expect to see startling reunions, betrayals, and a journey to the terrifying heart of Gilead that will force all characters to take a stand, guided by one defiant prayer: “Blessed be the fight.”
A new teaser trailer for Season 3 debuted during Super Bowl LIII, and painted a bleak, fire-filled picture of Gilead. The trailer was similar in tone to Ronald Reagan’s jarring 1984 “It’s Morning in America” presidential campaign ad.
The Handmaid’s Tale comes to Hulu from MGM Television and is created, executive produced and written by Bruce Miller.
Warren Littlefield, Elisabeth Moss, Daniel Wilson, Fran Sears, Ilene Chaiken, Eric Tuchman and Mike Barker also serve as executive producers. MGM is the international distributor for the series.
We’ve added a bunch of new photos of Max from TIFF where he attended the Teen Spirit premiere as well as the premiere for A Star Is Born, as well as press and party events to promote and celebrate Teen Spirit. He looked very handsome! We’ve also added a few interviews of him from TIFF. Enjoy!
September 8 – The Hollywood Foreign Press Association And InStyle Party
September 8 – Coffee with Creators for “Teen Spirit” – Toronto International Film Festival
September 9 – “A Star Is Born” Premiere – Toronto International Film Festival
Fanning and Minghella speak to Vanity Fair ahead of Teen Spirit’s world premiere at the Toronto International Film Festival.
Growing up in Southern California, Elle Fanning fantasized about becoming an actress or a pop star. She didn’t have to dream long before achieving the former—a bit role in sister Dakota’s feature I Am Sam, released when she was three, snowballed into a prolific career in films like Somewhere, Super 8, and The Beguiled. No matter how many credits she collected, though, Fanning couldn’t shake the secret desire to be a singer.
“It was inside me—I would dream of myself one day being onstage,” Fanning told Vanity Fair, speaking ahead of the world premiere of Teen Spirit, a dreamy, music-driven coming-of-age story from first-time feature director Max Minghella. “I always thought, ‘That would be so cool to get to do that . . . but I’m an actress. So what—I’m going to become like Katy Perry or something? It doesn’t work like that. But I did have a secret desire in the back of my mind because singing is something I loved to do.”
Fanning realized that finding a role that let her sing was her most viable strategy for living out that fantasy. So when she heard about Teen Spirit, which was written by Minghella with an assist from executive producer Jamie Bell, the actress pounced.
“I was very confident,” Fanning said of her first meeting with Minghella. “I was very, ‘I can sing.’ I wanted the part so bad. . . . I sang this little thing at the Montreux Jazz Festival with my friend. So I sent that to Max.” Bursting into laughter, she reflected, “I guess it was kind of odd, because now I’m like, ‘Wow, he just trusted that I could really sing.’”
But Fanning took just as much of a leap of faith on her director—who had been working on the Teen Spirit script since 2009. Minghella, an actor currently co-starring on Hulu’s The Handmaid’s Tale, said, “I’d heard through the grapevine that she was a singer, and I think initially that was her main interest in doing this movie, far more than working with me.”
In Teen Spirit, Fanning stars as Violet, a working-class teenager living an isolated existence on the Isle of Wight with her Polish immigrant mother. Music is her escape. So when an American Idol–style reality show called Teen Spirit comes to town to audition contestants, Violet recruits an older local (Zlatko Burić) to pose as her legal guardian. The two develop a friendship as she readies for the final auditions and the show itself. For Fanning, Violet is a departure from the typically sweet, ethereal characters she plays, and the teenage girls usually depicted in film. Violet is cold to her classmates; unconcerned with being likable; and only motivated by her desire to express herself—not some romantic desire.
Speaking from London, where she is currently filming the Maleficent sequel, Fanning said, “I’m very smiley. I laugh all the time. But Violet doesn’t have that personality. I was really intrigued by that—that it wasn’t just the typical story of this shy girl who blossoms out of her shell. . . . Violet has this rough edge. I loved creating a girl who wouldn’t necessarily be likable in school and making her this hero.”
Minghella did not hinge his film on a competition show because he is interested in the TV genre, but because he wanted to make a musical “where there was a motive for the singing.” Movie musicals can sometimes jolt audiences out of the story when the characters break into sudden song. The competition-series framework makes Teen Spirit more narratively cohesive: “We do stick to certain rules of the musical, which was important to me. There is a music sequence every 10 [minutes] in the movie, almost exactly. And for me, the film is driven by the music, which is also kind of a rule of the musical.”
The feature is also in some ways an artful homage to Minghella’s mother, choreographer Carolyn Choa, and his late father, the Oscar-winning filmmaker Anthony Minghella. “My father was a son of two Italian immigrants. He grew up on the Isle of Wight. He had a very kind of labor-intensive childhood; he worked in a restaurant and sold ice cream. He had very little free time, and the time that he did have, he dedicated to his love of music, which ended up being a very important catalyst in his life,” said the budding filmmaker. “My mother is Chinese, and she’s from Hong Kong, and she moved to England when she was 18, not speaking a word of English, in the hope of becoming a professional dancer. And did,” he continued. “The idea of the character who feels kind of culturally displaced and finds some solace in artistic expression probably is a hereditary interest, if it makes sense.”
Like La La Land, Teen Spirit was produced by Fred Berger, with music producer Marius de Vries, music supervisor Steven Gizicki, and Interscope Records spearheading the musical elements. For three months before filming, Fanning trained with de Vries, who also worked with Emma Stone on her Oscar-winning performance in La La Land. Said Fanning, “He had stories of working with Emma and all that stuff, which made me nervous. At the first meeting, he was saying, ‘Well, when Emma did this and that . . . and I’m like, ‘Oh no.’” Fanning was also working under the added pressure of performing beloved, widely recognizable songs from artists like Ellie Goulding. Minghella was initially not sure whether Violet would win the competition series, but Fanning’s vocals became so powerful that the filmmaker ended up giving Violet a favorable outcome.
“She sings all of the music live in the film,” said Minghella. “She was doing multiple takes of these performances. And all of the audio is usable.”
The film culminates with Violet performing a head-thrashing cover of Sigrid’s “Don’t Kill My Vibe” during the final round of the competition show. Watching her character’s grand finale is like seeing a heavy-metal life force overtake the delicate actress, as she puts every ounce of herself into an electrifying performance. Knowing how good she wanted the performance to be—this was the onstage moment she had been dreaming of—Fanning was terrified. She texted Minghella “a really long paragraph” as her nerves spiraled. Ultimately, though, Fanning found the sort of inner strength she realized her favorite artists must have: “Pop stars, they get in a [mental] space when they’re onstage,” Fanning explained. “’What does Rihanna do? What does Taylor Swift do? What does Katy Perry do?’”
The scene was choreographed and intensely draining. Said Minghella, “She performed for 12 hours, and had to sing really well at the same time. . . . We had all of the Interscope executives on set that day, and none of them could believe it. They told me that no professional singer would be able to do what she’s doing—12 hours of physical exhaustion and having to sound perfect, and sound like you could potentially win a singing competition.”
That particular sequence is a coming-out moment for Fanning, who proves she can crush a pop anthem with the swagger of an artist who has no need for autotune.
“I was shaking,” said Fanning of filming the scene. “I was just so nervous to finally show everybody . . . I think that, exactly like what happens with Violet, a rage just overtook me. I loved the outfit. It felt very hip-hop in a way also. . . . It was more dirty and I leaned into the grittiness of it and I was excited to have that. It wasn’t about being pretty. It was just about being truthful, and that’s what I tried to do.”
Though Fanning is currently playing Sleeping Beauty in the Maleficent sequel in London, it is clear that Teen Spirit was just as much a fairy tale for the actress.
“I never really wanted to stop performing because of the adrenaline,” said Fanning of her day spent onstage. “We had a real audience! I was like, ‘Wow. I’m really performing for people.’ And they were into it. I got to interact with them and just unleash myself.”
Getting giddy just thinking about it, Fanning suggested, “Everybody should do that probably once. It doesn’t matter what you sound like.”
Coffee with Creators LIVE at TIFF 2018. Check back for Deadline’s Toronto Film Festival livestream Saturday.
Max’s film, “Teen Spirit”, in which he directed and wrote, will be debuting at the Toronto International Film Festival. Congratulations to Max and the cast and crew! Read about the film below:
A shy teenager dreams of pop stardom and enters an international singing competition as an escape from her small town and difficult family life, in actor Max Minghella’s (The Handmaid’s Tale) feature debut.
Seventeen-year-old Violet (Elle Fanning, also at the Festival in Galveston) lives with her mother (Agnieszka Grochowska) on a small farm on the Isle of Wight. Her days are spent doing chores, waiting tables, and attending secondary school, where she keeps to herself.
But in her free time – spent alone in her room, in the fields with her beloved horse, or at an under-attended open-mic night – Violet surrenders to song. She’s a naturally gifted singer for whom pop stardom might not be mere fantasy. This lovely film, the directorial debut of actor Max Minghella (The Handmaid’s Tale), tells the story of how Violet gathers the courage to come out of her shell with a bang.
This is also the story of a friendship. Vlad (Zlatko Buric), a once-celebrated opera singer, hears Violet and knows she’s something special. He declares himself her manager and trainer, accompanying her as she tries out for a popular televised musical talent program called Teen Spirit. Vlad is a bear of a man with a tendency to drink away his sorrows, but if he and Violet can stick together as her star rises, they might just make each other better people.
This is a familiar story. In fact, one of Teen Spirit’s executive producers is Jamie Bell (appearing at the Festival in both Skin and Donnybrook), whose breakthrough role was in Billy Elliot, a film with a similar trajectory. But Teen Spirit feels strikingly fresh.
Minghella and cinematographer Autumn Durald-Arkpaw combine a predominantly low-key visual style with occasional bursts of music-video sizzle, while Violet and Vlad make a loveable surrogate father-daughter team whose camaraderie is touching. Above all, Fanning has never given such a stunningly controlled performance, combining sustained withdrawal with sudden explosions of dazzling musical energy.
This morning the list for the 2018 Emmy nominations was announced. In this list The Handmaid’s Tale was nominated for several awards including:
Outstanding Casting For A Drama Series
The Crown • Netflix
Game Of Thrones • HBO
The Handmaid’s Tale • Hulu
Stranger Things • Netflix
Westworld • HBO
Tune in Monday, September 17 for the 70th Emmy Awards on NBC.
There are not many good men in Gilead. There aren’t even many men in Gilead about whom you might reasonably feel conflicted; the misgoynist dystopia at the heart of The Handmaid’s Tale is populated by sociopathic Commanders and power-crazed Guardians whose every worst impulse is fostered by the society in which they live. But Max Minghella’s Nick is the exception. Though seemingly a loyal employee to the Waterfords and an effective agent of Gilead, it becomes clear by the end of Season 1 that Nick’s stoical exterior belies a rebellious spirit, and that his love for June (Elisabeth Moss) is very, very real.
Season 2 has pushed Nick’s unflappability to its limits: following the news that June is pregnant with his child, he conspires to get her out of Gilead and comes painfully close to succeeding. His effort to undermine his monstrous boss, Fred Waterford (Joseph Fiennes), is thwarted by a bombing. Most unexpectedly of all, the regime “rewards” Nick for his service by giving him a 15-year-old bride, Eden (Sydney Sweeney), whose presence leaves him truly unsettled. And in this week’s episode, “Postpartum,” Nick’s stilted dynamic with Eden takes a tragic turn; having tried and failed to find any love in her marriage, Eden has fallen for another man, Isaac, and when her affair is discovered, she is executed.
BAZAAR.com sat down with Minghella to discuss shooting June and Nick’s intense sex scenes, that devastating turn in Episode 12, and why Season 2 has felt so much darker to him than Season 1.
Harper’s BAZAAR: I’m still not really over Nick and Luke [O. T. Fagbenle] meeting for the first time in Episode 9. Was that scene as intense to shoot as it was to watch?
Max Minghella: There was definitely a lot of anticipation about that scene on the creative side, and Lizzie [Moss] herself was really involved in how it played out. For me, it was so much fun to finally work with O. T.! This is a funny show, because we all get along so well but most of us haven’t spent much time together. We all work in these little segregated groups, and I work almost exclusively with Lizzie [Moss] and occasionally with Yvonne [Strahovski] and Joe [Fiennes]. What was thrilling about the Canada episode was finally getting to engage with these other parts of the world. O. T. and I are very different people, which is smart casting because Nick and Luke are also wildly different. It’s a smart dichotomy with these two men, which I think reflects two sides of June.
HB: So Elisabeth Moss was involved with developing that scene?
MM: Yeah, she’s very involved in everything. People obviously know that she stars in the show, but I don’t think people realize how much she really produces the show. It’s far from a vanity credit, she really is our day-to-day producer, and is very, very much involved in the scripts and the edits. But she cared in particular about that scene, and I think as a fan of the show herself she wanted to make sure it really played out right.
HB: I was very suspicious of Nick throughout Season 1, and even now it’s sometimes unclear how involved he is with the resistance versus Gilead. What is his deal?
MM: What I love about playing Nick is that he’s someone who is always lying, to a degree. But I’m very defensive of him because I play him, so I’ve never had those suspicions about his moral compass. I love that he is a very romantic character—I’m a very romantic person in real life, so that’s something I like tapping into and channeling. In this show, which is so often bleak and difficult, Nick’s a part of the narrative that is hopefully cathartic. When I go to set in the morning to shoot a scene with Lizzie, I always feel like it’s nice to be bringing something slightly less intense for a few hours, slightly less dark. Continue Reading “Max Minghella Talks Playing the Only Good Man in Gilead on The Handmaid’s Tale”