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The “Baby One More Time” icon penned a tribute to another legendary blonde: Michelle Pfeiffer as Catwoman in Tim Burton’s classic 1992 film “Batman Returns.” “I feel like she’s the most charming, sexy, and alluring woman,” Spears captioned on Instagram alongside the scene where Pfeiffer transforms into antihero Selina Kyle. “This scene is probably the hottest scene I’ve ever seen in my life!!! Of course, @michellepfeifferofficial whom I’ve never met is the character [cat emoji]....

This merger, UTA’s own spree of acquisitions, and WME’s crucial place in Ari Emanuel’s publicly traded Endeavor (EDR on the New York Stock Exchange) empire all speak to how the agency business of today (and of tomorrow) are about so much more than competing to represent A-listers. There are podcasts and advertising and books and influencers and marketing and data analytics all at play here — not to mention the changing media landscape led by tech-backed (read: incredibly rich and powerful) streamers....

“We started recording layer after layer of cellos and building masses of cellos,” Somers told IndieWire Crafts and Animation Editor Bill Desowitz at IndieWire’s Consider This FYC Brunch. “And then I slowed it all down, and that’s when Lila felt the lightbulb go on, and she was like, ‘This is the sound.’ So it was just exploring and experimenting with cool musicians and friends of mine.” At the brunch, Somers talked about the other important musical elements that made their way into the film....

Nine times, if you count the last mention — “The writing, the writing, the writing!” — as multiple, but it’s hard to fault the Irish actor for being so thoroughly enamored with the scripts by Tony Gilroy, Dan Gilroy, Beau Willimon, and Stephen Schiff. “It’s like a great play,” she told IndieWire over Zoom, speaking of how everything on “Andor” came together with the writing as its foundation. “Get out of the way....

This footage, never before seen in full, was resurrected by producer Filip Jan Rymsza and editor Bob Murawski, who helped bring Welles’ unfinished “The Other Side of the Wind” to meticulously restored life two years ago. The conversation took place in Los Angeles, in November 1970, after Welles flew Hopper out from New Mexico to discuss a cameo in “The Other Side of the Wind,” a wild fictional telling of the behind-the-scenes drama into making a maverick Hollywood movie....

At Sundance 2021, the organization continues to support its mission to be consistently inclusive, especially in its competitive sections. In this year’s slate of 72 feature-length films, 27 are directed by a filmmaker of color and/or tell stories about people of color — about 38 percent. It almost reflects the country’s general population, which, according to the United States Census Bureau, is comprised roughly of 42 percent people of color. Courtesy of Sundance Institute...

“When I am enjoying a film I just don’t see editing,” Walker said. “I find over-cutting is just the curse of what I see on television, in particular on streaming shows. It’s just reactions shoehorned in everywhere and fast cutting for no reason. I feel like somebody is dragging me. I feel like I’m being manipulated and I reject that. That’s the worst mistake [in editing], for me.” Walker said over-cutting was also apparent in a recent Academy Award winner for Best Film Editing, adding, “I won’t say who, but there is a film that won an Oscar very recently that had this ridiculous amount of cutting just to show someone sitting down at the table....