30 Ekim 2026, Cuma
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Tony Gilroy on the Lunch With Pedro Pascal That Saved ‘Behemoth!’ and How the Film Explores ‘New Varieties of Loneliness’

Tony Gilroy on the Lunch With Pedro Pascal That Saved ‘Behemoth!’ and How the Film Explores ‘New Varieties of Loneliness’
Tony Gilroy on the Lunch With Pedro Pascal That Saved ‘Behemoth!’ and How the Film Explores ‘New Varieties of Loneliness’
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🕐 Son Güncelleme: 30.10.2026 20:40

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  • Oct 30, 2026 10:40am PT Tony Gilroy on the Lunch With Pedro Pascal That Saved ‘Behemoth!’ and How the Film Explores ‘New Varieties of Loneliness’ By Clayton Davis Plus Icon Clayton Davis Chief Awards Editor byClaytonDavis Latest Director Gregory Nava Remembers Dolores Huerta, the Civil Rights Icon Who Introduced Him to His Wife and Trusted Them With Her Life Story 2 days ago ‘You Can See Everything’ Ruled Ineligible for DGA Feature Prize, Will Compete Only in Documentary Category 3 days ago Zendaya Sets ‘Dune 3’ Oscar Campaign for Best Actress in Category Shake-Up (EXCLUSIVE) 7 days ago See All Add us as a Google Preferred Source Comments Tony Gilroy had the speech ready on his way to meet Pedro Pascal .
  • He was rehearsing it in the car on the way to lunch.
  • Oscar Isaac was out of “ Behemoth !,” lost to what Gilroy calls “a traffic jam between ‘Frankenstein’ and awards,” and the writer-director had already pushed the start date as far as he was willing to push it for his new film about a cello player who returns to Los Angeles after 20 years.

Tony Gilroy on the Lunch With Pedro Pascal That Saved ‘Behemoth!’ and How the Film Explores ‘New Varieties of Loneliness’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 30, 2026 10:40am PT Tony Gilroy on the Lunch With Pedro Pascal That Saved ‘Behemoth!’ and How the Film Explores ‘New Varieties of Loneliness’ By Clayton Davis Plus Icon Clayton Davis Chief Awards Editor byClaytonDavis Latest Director Gregory Nava Remembers Dolores Huerta, the Civil Rights Icon Who Introduced Him to His Wife and Trusted Them With Her Life Story 2 days ago ‘You Can See Everything’ Ruled Ineligible for DGA Feature Prize, Will Compete Only in Documentary Category 3 days ago Zendaya Sets ‘Dune 3’ Oscar Campaign for Best Actress in Category Shake-Up (EXCLUSIVE) 7 days ago See All Add us as a Google Preferred Source Comments Tony Gilroy had the speech ready on his way to meet Pedro Pascal . He was rehearsing it in the car on the way to lunch.

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Oscar Isaac was out of “ Behemoth !,” lost to what Gilroy calls “a traffic jam between ‘Frankenstein’ and awards,” and the writer-director had already pushed the start date as far as he was willing to push it for his new film about a cello player who returns to Los Angeles after 20 years. So he and producer Sanne Wohlenberg drove to meet Pascal, but Gilroy had already worked out what he would say to the crew he had assembled: “We tried really hard.

İlginizi çekebilir: Tony Gilroy ve Pedro Pascal’dan Müzik Dolu Bir Film: “Behemoth!”tan Yeni Fragman Yayınlandı!

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We’re not doing this movie now. I’ll find us something else.” Related Stories Actors on the Verge of Losing SAG-AFTRA Health Insurance Find Support via ‘One Job Away’ Instagram Campaign: ‘The System Is Not Working’ Jamie Foxx Boards Indie Crime Thriller ‘East of the River’ as Producer (EXCLUSIVE) “10 minutes into lunch, I’m like, ‘Oh my God, can he be this perfect?’” Gilroy tells Variety over coffee on the final morning of the Middleburg Film Festival.

“There must be something wrong with him.” There wasn’t. A three-hour meeting followed that Gilroy describes as “more of a prenup than a meeting.” By the next day, Pascal was learning the cello.

The result is Gilroy’s first feature as a director since 2012′ “The Bourne Legacy” and his first anything since Disney+’s “Andor,” the two-season series that consumed most of his last six years. Pascal plays Alex Serian, a cellist from a family of studio musicians who comes home to Los Angeles after two decades on the road and starts recording film scores, including a giant studio production with the secret title “Behemoth!” The film is among the Oscar contenders this year including best actor for Pascal, and with the strong reviews, perhaps even best picture.

The cast also includes Olivia Wilde, Will Arnett, Eva Victor, Alexa Swinton and Hank Azaria. The idea arrived on the scoring stage for “Rogue One: A Star Wars Story,” after watching Michael Giacchino’s composing sessions.

Gilroy then spent six months interviewing working musicians before “Andor” swallowed him whole. When he surfaced, he says, he was “very eager for a sanctuary” from the anger and politics of that show.

He found it in a movie about movie music, which he immediately made as difficult as possible to finance. “It’s a movie about a cellist.

Good luck,” he says, running down the movie pitch. “Takes place in fractured time.

I’m probably going to need nine composers.” It could not be shot in Atlanta or Australia. It needed 303 union musicians on the stage.

“The fringes on this movie probably cost what ‘Nightcrawler’ cost [in total].” Those nine composers — Michael Abels (“Get Out”) along with pianist and composer Emily Bear, Lukas Frank, Michael Giacchino (“Up”), James Newton Howard (“Michael Clayton”), Henry Jackman (“Captain America: T

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