Joe oversees Deadline’s print magazine for the Oscar and Emmy seasons, as well as its special “Disruptors” edition for the Cannes Film Festival. He has been with Deadline since 2012 and serves as emcee for Deadline’s The Contenders events. Prior to joining, his work regularly appeared in his native UK, for outlets including The Sunday Times and The Guardian. He has also worked extensively in film and television, producing EPK and production notes and serving as a unit publicist. He is a member of BAFTA and has sat on multiple juries for the BAFTA Film Awards.
The path of Emmy history is littered with many injustices. Take, for example, Steve Carell's failure, despite five nominations, to earn a trophy for playing Michael Scott on The Office. Or how about The Wire, which somehow, despite becoming one of the definitive exemplars of peak television, only ever mustered a…
Joe Talbot won the Best Director prize at January's Sundance Film Festival for his debut feature The Last Black Man in San Francisco. But, as he explained when I sat down with him and his lead actor Jimmie Fails, on whom the film's story is based, it took a village.
A love letter to the titular city, the film deals…
Ricky Gervais rejects the amphitheater of Netflix's London screening room—complete with cushions and throws branded with the name of its myriad shows—as the venue for our interview. Too cold. Too grand a room for two people talking. Instead, we set up in what can best be described as a gussied-up broom closet. There…
Quentin Tarantino made a surprise appearance at today’s Palm Dog awards in Cannes, the annual celebration of the best dog performances in the festival selection. His Once Upon a Time in Hollywood features blockbuster bowser Brandy, owned by Brad Pitt’s Cliff Booth character in the film.
First awarded by journalist…
Given that he’s known for his work in documentary film, it perhaps comes as little surprise that Werner Herzog’s latest narrative feature has been fooling critics in Cannes into thinking it’s observed truth. Certainly, Family Romance, LLC, which is set in Japan, blurs the lines: it tells the story of the principal of…
As the debate rages about whether a film released on a streaming platform can ever be considered cinema, Netflix this year proved that there was even more to its tech than any traditional TV and film definitions could encompass. When the team behind Black Mirror surprised with “Bandersnatch”—an interactive…
Completing the third part of an unexpected trilogy delving into the darker side of fame, Asif Kapadia’s Diego Maradona premiered last night on the Croisette, even if its subject, in ill health, couldn’t make it into Cannes. That Maradona is alive at all—that he has lived long enough to find his second —might be the…
American Un Certain Regard entry The Climb has fast become one of the hits of this year’s Cannes, generating a raft of reviews so good it’s like they’d been written by the filmmakers themselves. No need for that, though, because Michael Angelo Covino’s directorial debut feature, which he co-wrote with his co-lead Kyle…
Director Midi Z and actress Ke-Xi Wu have worked together before, but their dynamic strengthened when they made Nina Wu together. The film, which premieres tomorrow night in Cannes' Un Certain Regard, is penned by Wu, and tells the story of a young actress who faces the brutalities of a male-dominated film industry as…
Paul Haggis and Dan Krauss's doc 5B—playing at Cannes as a special screening—seeks to shine a light on the history of the pioneering caregivers at the San Francisco General Hospital who tackled the AIDS crisis at the height of the fear and paranoia as the virus took its greatest toll. Interspersing archival footage of…
Asif Kapadia has directed two incredibly compelling documentaries about the lives—and untimely deaths—of Ayrton Senna and Amy Winehouse. He returns to Cannes to complete the third part of his unique trilogy with Diego Maradona, this time detailing the brilliant and troubled life of the still very much alive soccer…
Without disruption, we're doomed to repeat ourselves," says Taika Waititi. He applies the label to his own sense of adventure in filmmaking, insisting that he must disrupt his own comfort in order to push himself as a director. "When something feels like an obvious choice, it feels a little too easy, and I need to…
