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Vincent D'Onofrio reveals what he is still learning about Kingpin after 10 years

Vincent D'Onofrio reveals what he is still learning about Kingpin after 10 years

Yahoo03-06-2025

The release of Daredevil: Born Again earlier this year almost exactly matched the 10th anniversary of the original Daredevil show's premiere on Netflix. But even after a decade of playing supervillain Wilson Fisk, aka Kingpin, Vincent D'Onofrio is still learning things about his character 'every day.'
'As an actor, every day you go to work, something new happens,' D'Onofrio tells Gold Derby during a brief break from filming Daredevil: Born Again Season 2. 'You either fail and learn something from that, or you succeed and learn something from that. And throughout the day, both things can happen. So, yeah, I'm totally, constantly learning about Fisk and about how to execute the character. That never stops, it's continuous.'
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Of course, it helps to have new material to play, and Season 1 of Daredevil: Born Again put both D'Onofrio and his character in a whole new place after Fisk successfully ran for mayor of New York City. During a rare meet-up with his rival Matt Murdock (Charlie Cox) in the premiere episode, Fisk promised that he was done with his criminal ways and ready to be an upright politician. But D'Onofrio knew that things wouldn't go that way, even if his character didn't.
'You can't take these characters and then suddenly turn them into good people, or even less complicated people,' D'Onofrio says. 'I knew that the idea of putting him in the light and having him run for mayor was going to cause a lot of frustration and a lot of struggle for that character. As the actor, I knew that it would never work out. I even felt that putting him in those situations were some of the most difficult things to play. To put a broken person, who really belongs in the dark, in the light is an interesting choice. As the actor, I could feel the frustration of it. I didn't like it myself, but it was good to play it that way.'
But despite Fisk's new office, there's also plenty of continuity in the form of his wife, Vanessa Fisk. Though Sandrine Holt was originally cast to play Vanessa during the first attempt at Daredevil: Born Again, after the show's creative revamp the role was recast with Ayelet Zurer (who had played Vanessa on the original Daredevil series), and she and D'Onofrio picked up where they left off.
'Ayelet Zurer is an amazing actress,' D'Onofrio says. 'I've known her for years now, we're very close friends, and to work with her is incredible. Vanessa helps a lot to tell Wilson Fisk's story, like it did in the comics years ago. It defines who he is as a man, not just as a villain.'
Vanessa is her husband's moral compass, but not in a good way. During the time he's been absent from New York City (depicted in the Disney+ series Echo), Vanessa took control of his criminal empire, and she's the one who helps him re-embrace his Kingpin side even after becoming mayor.
'Whenever you show somebody that's supposedly a bad guy and you humanize him, it's more scary for everybody,' D'Onofrio says. 'So we did whatever we could in the first season to humanize Fisk, to make sure that people understood that he was a man who didn't consider himself to be a villain, but that the actor who plays him considers him to be broken.'
Criminal mayors are not relegated solely to the world of the Marvel Cinematic Universe. Eric Adams, the real-life mayor of New York City, was indicted last year on criminal corruption charges from the FBI.
'I don't have any interest in all that,' D'Onofrio says. 'I have my own personal views about all that, but I don't connect those to the show in any way. I think other people may or may not, that's up to them, but I've been playing this character a long time now, and I'm on that track. I'm on that evolution of the character. If it's somehow, in some uncanny way, following what's going on out there in the world, then I guess that's all the better for everybody. That means it's good storytelling, and if people are getting pissed about it or happy about it, that's good storytelling.'
Season 1 of Daredevil: Born Again is streaming now on Disney+.
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The Spider-Verse Inspired The Directors Of KPop Demon Hunters To Make A Movie That Looks Nothing Like Spider-Verse
The Spider-Verse Inspired The Directors Of KPop Demon Hunters To Make A Movie That Looks Nothing Like Spider-Verse

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The Spider-Verse Inspired The Directors Of KPop Demon Hunters To Make A Movie That Looks Nothing Like Spider-Verse

When you buy through links on our articles, Future and its syndication partners may earn a commission. When I watched KPop Demon Hunters ahead of its premiere on the 2025 movie schedule, I immediately knew I was in for a wonderful ride when I saw that Sony was behind it. Based on stills, I was already in love with the Netflix movie's animation style, but knowing it came from the same studio as the Spider-verse films upped my enthusiasm even more. So, when I interviewed the directors, I asked how the Marvel movie influenced and inspired them. In return, they told me you can see that influence in the fact that their movie on Netflix's 2025 schedule looks absolutely nothing like the beloved Spider-Man movies. During my interview with KPop Demon Hunters' directors, Maggie Kang and Chris Appelhans, I asked if their new streaming movie was influenced by other beloved Sony projects, like Spider-Man: Into the Spider-verse and The Mitchells vs. The Machines. In response, Appelhans told me that like those two movies, their primary goal was to do 'something new:' What they both did so well was something new. And so part of it was we did some early exploration with flash frames and graphic elements. And we're like, 'I don't know, this looks like Spider-verse, and it's not our movie.'...In a way, they raised the bar, which is 'Bring something fresh and new to the animation sphere.' Up Next Spider-Man: Beyond The Spider-Verse: What We Know So Far Spider-verse movies take clear influence from comic books, and they mix various animation styles seamlessly. KPop Demon Hunters, a movie about a KPop group who fight off demons, does that too, as Appelhans and Kang explained, by using subtle anime influences, K dramas, editorial photography and high-level music videos as its points of inspiration and reference. While it looks nothing like Spider-verse, that's what makes it like it, because they managed to create something 'we haven't seen' in animation, as Chris Appelhans told me. He also brought up the personal points of inspiration. Noting that K dramas do a good job of showing how 'silly and flawed and weird' characters can be, his co-director's own point of view played into that too. He explained that Kang 'had a point of view' about the three leading women of their movie that added to their unique style. So, through all those influences, they were able to craft a look that is totally unique to their own story, like Spider-verse did a few years ago. It also helped that their shared studio, Sony, was all for this unique vision, as Appelhans said: We were like, 'This is it. How do we make it special? How do we make it visually striking?' And the nice thing was, Sony, has such a deep, talented group of animators and lighters and everything-ers that when we brought those influences to them, they're like, 'Cool, dude. We love this stuff too.' How exciting we get to do this kind of thing. Piggybacking off that point, Maggie Kang told me that Sony never wants to do the same thing twice, which you can see through the aforementioned films. That made it even easier for them to execute their vision and create something new and innovative, like Spider-verse and The Mitchells vs. The Machines did: They also don't want to do the same thing twice. So they were already on the mind of, like, 'We want to be innovative and show something different.' So that was really great. As the stellar reviews for Spider-Man: Into the Spider-verse and Across the Spider-verse prove, this innovative and wickedly unique style they've developed is something audiences love. I can safely say that kind of creativity is also one of the reasons why KPop Demon Hunters works so well. Now, if you are looking to see how all of this is 'done, done, done,' you can buy or rent the Spider-verse movies and stream The Mitchells vs. The Machines and KPop Demon Hunters with a Netflix subscription.

Syncing Up Music And Choreography In An Animated Movie Is Apparently ‘Torturous,' And The KPop Demon Hunters Directors Told Me Why
Syncing Up Music And Choreography In An Animated Movie Is Apparently ‘Torturous,' And The KPop Demon Hunters Directors Told Me Why

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Syncing Up Music And Choreography In An Animated Movie Is Apparently ‘Torturous,' And The KPop Demon Hunters Directors Told Me Why

When you buy through links on our articles, Future and its syndication partners may earn a commission. There are tons of reasons why KPop Demon Hunters had me wide-eyed and in awe while watching. From creating a totally unique animated world like Spider-verse did to its incredibly catchy pop music, there's a lot to love. However, one of my favorite elements of this film is how almost every choreographed moment, whether it be a fight or dance, is perfectly synchronized with the film's original music. So, when I had the chance to interview the directors of this 2025 Netflix release, I asked how they did that, and they detailed the 'torturous process.' While interviewing KPop Demon Hunters' writers and directors, Chris Appelhans and Maggie Kang, for CinemaBlend, I asked them to walk me through the process of syncing music with animation. They both quickly laughed while saying that it's a very arduous process. However, it's one they nailed through a workflow with their editors that Appelhans explained here: It's a horrible, torturous process [laughs]. No, I mean, I think what we had was a great editor, and then within our editorial department, a guy named Oren Yaacoby, who's a really incredible music editor. And so he's a musician and an editor at the same time. So our picture editor, Nathan [Schauf], could create [a] great rhythmic picture thing, and then Oren could reverse engineer the song, trim bits and pieces. He'd go to Nathan and say, 'I figured it all out, but I need eight more frames here to make this tick.' So it was this math problem that was also a story and entertainment problem, but having people who could do that was the key. Well, that does sound like a 'torturous' process. However, that detail-oriented frame-by-frame approach paid off big time. Throughout all KPop Demon Hunters, I was in awe as the demon hunters and demons danced like the pop stars they are, while also literally fighting to the beat. To that point, after Appelhans described the work the editors put into making sure everything was synched to perfection, Kang spoke about how their team animated the musical moments of this new streaming movie. Explaining that they used their own sort of metronome in the form of a 'bouncing ball' to track the rhythm, she said: The music always comes first, because the music was also part of story. It was so integrated into storytelling…And then they used kind of a bouncing ball to really track the rhythm and then to match animation beats to the music. I figured this process had to be strenuous, but actually hearing it spelled out tells me it's ten times more intense than I had originally thought. It adds an entirely new appreciation to the film for me, too. So, with that in mind, I asked the directors what it was like to hear the songs for the first time. They told me they were in 'tears,' and when I asked which moment specifically in the film caused said reaction, Maggie Kang said: Oh, I mean, I think even the version of 'How It's Done' that we're hearing, I think that really was like, 'Okay that this felt -- [we hit the level] of coolness, and the lyrics kind of suggesting that they were more than what meets the eye and not just idols, but we're also warriors.' And all of those ingredients just felt like they came together, and it was like, 'This is it? This is our song.' It's so cool to hear that, because 'How It's Done' sets the tone for this story. This scene is the first time we see the girls fight, sing and dance, and it highlights all their skills in a visually stunning way. It's also an epic example of how this project times its action-packed moments to music. Featuring both fight choreography and dancing, it shows off everything we talked about here, and you can watch it below: Did you see that? She literally caught a coffee pot on the beat! The weapons were flying in time with the music! The way the shots cut, it was on beat too. It's honestly mindblowing, and I'm even more impressed now that I know just how much work goes into pulling off sequences like this. Now, to go watch this project on the 2025 movie schedule and take in all this musical perfection, you can stream KPop Demon Hunters right now with a Netflix subscription.

Tony Talk: Our extremely early 2026 awards predictions for ‘Ragtime,' ‘Waiting for Godot,' Kristin Chenoweth, and all the buzzy new shows
Tony Talk: Our extremely early 2026 awards predictions for ‘Ragtime,' ‘Waiting for Godot,' Kristin Chenoweth, and all the buzzy new shows

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Tony Talk: Our extremely early 2026 awards predictions for ‘Ragtime,' ‘Waiting for Godot,' Kristin Chenoweth, and all the buzzy new shows

Welcome to Tony Talk, a column in which Gold Derby contributors Sam Eckmann and David Buchanan offer Tony Awards analysis. Two weeks after the 2025 Tonys, we discuss the upcoming Broadway season and forecast likely 2026 Tony contenders. David Buchanan: Last June, you and I offered our earliest predictions for what could contend and even win at the Tonys a whole 12 months in the future! Looking back at our extremely early 2025 predictions, we hit some nails on the head, including the Best Musical Revival and Best Actress in a Musical showdowns between Gypsy and Sunset Boulevard and stars Audra McDonald and Nicole Scherzinger, respectively. For the 2025-26 Broadway season — which has already kicked off with Jean Smart in the solo play Call Me Izzy — it looks like the revivals are once again front and center. We have remountings of musicals Ragtime, Chess, and The Rocky Horror Show forthcoming, as well as plays Art, Waiting for Godot, and Fallen Angels, among others. Do you think we have any potential winners in those lists? More from GoldDerby 'Rosemead,' starring Lucy Liu, takes top prize at Bentonville Film Festival 'The Last of Us': How the 'Lord of the Rings' VFX team (and marshmallows) made the Battle of Jackson 'Batman Forever' and 'Batman Begins' share an anniversary week - and a surprising Oscar connection Sam Eckmann: To your list of musical revivals, I would add Cats: The Jellicle Ball. This reimagining of the classic Andrew Lloyd Webber musical ditches the feline body suits and sets the story in the world of ballroom. The show was a sold-out hit off-Broadway and though a Broadway run isn't official, a cheeky new social media account for the show has been teasing a transfer for months. Should it transfer, it will be an immediate frontrunner in the Best Musical Revival category. That said, Ragtime, Chess, and The Rocky Horror Show (which will be directed by newly minted Tony winner Sam Pinkleton) are rarely seen but beloved musicals. So this category promises to be an epic showdown yet again! The race for Best Musical is harder to predict since so many new tuners have yet to officially announce their runs. But we do know that director Michael Arden (now a two-time Tony winner thanks to Parade and Maybe Happy Ending) will helm a pair of new musicals: The Queen of Versailles, starring Kristin Chenoweth, and a stage adaptation of The Lost Boys. Do you think Arden could add a third trophy to his mantle next year? Steve Eichner/Variety via Getty Images Buchanan: Next year, either Pinkleton or Arden could join the list of only eight directors in the history of the Tonys to win back-to-back trophies, like Danya Taymor tried to do this year with John Proctor Is the Villain, so that should make for a very exciting race! With his two Tony-winning projects plus Once on This Island and Deaf West's Spring Awakening, I know never to underestimate Arden. Queen of Versailles is a huge creative swing, and though I didn't see the Boston try-out, word of mouth suggests it needs some judicious tightening of its runtime and of its tone. Based on critics' reviews, it sounds like the show may be more of an awards contender for Chenoweth and composer Stephen Schwartz than for directing, despite the humongous scope and set of the musical, which centers on real-life billionaire Jackie Siegel and her dream to construct the largest private residence in America. The Lost Boys is the bigger question mark in my mind. Vampire musicals have an infamous track record on Broadway — Dance of the Vampires, Elton John's Lestat, to name just two — but the song officially released by the Rescues, who composed the score, is strong, as is Arden's creative team, so this could be a contender, sight unseen. But before we pivot to the play categories, let's stick with Chenoweth and dive into Best Actress in a Musical. Folks have called her performance as Siegel the best of her career, but she'll be potentially contending against Caissie Levy in Ragtime as Mother, a two-time Tony-nominated role for Marin Mazzie and Christiane Noll, plus Lea Michele in Chess as Florence, a Tony-nominated role for Judy Kuhn. Do you think we'll have as cutthroat a Best Actress race in 2026 as we did this year? SEE Tony Talk: Dissecting those shocking wins for 'Purpose,' Nicole Scherzinger, Darren Criss, and full show analysis Eckmann: You've already highlighted three formidable contenders who could make the lead actress race just as competitive as this year's. While we don't have a full picture of all the eligible contenders yet, it's hard to imagine a lineup without any of these women. That would mean that Levy and Michele score the first Tony nominations of their career. I believe Levy came close to a nomination with Hair and Frozen, and she is the type of Broadway mainstay that voters are eager to reward once the right part comes along. Michele is still riding high on a renewed sense of goodwill after rescuing the recent revival of Funny Girl, and the score to Chess is perfectly suited to her high belting capabilities. Speaking of Chess, Michele's costars should also find themselves hotly competitive. Most Broadway fans are already familiar with Tony winner Aaron Tveit, but I suspect the über-talented Nicholas Christopher to finally cement himself as a Broadway superstar with this revival. If you're a theater nerd whose never heard him sing before, prepare yourself for your new obsession. While there are far too many question marks with the musicals at this early stage — I desperately need to know who Pinkleton is going to cast as Frank 'N' Furter in Rocky Horror — we know much more about the plays since the fall is front-loaded with them. I attended Call Me Izzy, the first production of the 2025-26 season, the day before this year's Tony Awards. While the script itself may not be remembered a full year from now in the Best Play race, star Jean Smart is at the height of her powers, delivering a solo performance so devastating that voters will surely be able to remember it next spring. Other contenders for lead actress in a play will surely include whichever mystery actress is cast in Second Stage's revival of Marjorie Prime, which won accolades for star Lois Smith in the off-Broadway run — though at 94, I'm not expecting her to sign up for the Broadway staging. An audition notice has also spoiled that the play Little Bear Ridge is also aiming for Broadway this season. Laurie Metcalf starred in this Samuel D. Hunter play at Steppenwolf Theatre in Chicago. This could be Hunter's first play to transfer to Broadway, and Metcalf is a seemingly guaranteed Tony nominee should she reprise her role. Hunter's The Whale earned Shuler Hensley a Lucille Lortel Award, and the film adaptation scored an Oscar for Brendan Fraser. Perhaps he's written Metcalf a role worthy of Tony No. 3. What plays are you looking forward to next season? SEE 'Every beat is meticulously crafted': An oral history of the Pulitzer Prize- and Tony-winning play 'Purpose' Buchanan: It would be so wonderful to have Metcalf back on Broadway after her Who's Afraid of Virginia Woolf? shuttered prematurely due to COVID in March 2020. Yes, there are a lot of very exciting plays already announced for the season, from Marjorie Prime to fellow Pulitzer finalist Becky Shaw and Tony winner David Lindsay-Abaire's upper-crust satire The Balusters. I'm particularly interested in the U.K. transfers of Oedipus starring the absolutely fabulous Mark Strong and Lesley Manville in a modern, election night retelling of the classic Greek tragedy, as well as the true-story, chilling Punch. The announcement of Pulitzer winner Stephen Adly Guirgis's stage adaptation of Dog Day Afternoon caught me by surprise but seems like a brilliant work to adapt to the stage, especially with its two The Bear stars Ebon Moss-Bachrach and Jon Bernthal. Speaking of those performers, the Best Actor in a Play race already sounds competitive. We'll soon see Keanu Reeves and Alex Winter in Waiting for Godot, and I'll be especially curious to know what director Jamie Lloyd does with the play. He's been in a musical mode lately with this year's Tony winner Sunset Boulevard and now the London revival of Evita with Rachel Zegler, but I have been most taken with his staging of plays including Betrayal in 2019, and it'll be interesting to see how his minimalism matches this classic drama. Yasmina Reza's ART brings a trio of Tony-winning heavyweights back to Broadway with Bobby Cannavale, Neil Patrick Harris, and James Corden. Sight unseen, I'm already rooting for Strong to take home his first Tony, but I'm excited for surprises this Broadway season, too! SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby 'Maybe Happy Ending' star Darren Criss on his Tony nomination for playing a robot: 'Getting to do this is the true win' Who Needs a Tony to Reach EGOT? Sadie Sink on her character's 'emotional rage' in 'John Proctor Is the Villain' and her reaction to 'Stranger Things: The First Shadow' Click here to read the full article.

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