Haywire starring Gina Carano

[@PLUGO]

Director Steven Soderbergh has committed to next direct "Knockout," a spy thriller that will mark the screen starring debut of Gina Carano.

[MasterKiller]

http://www.youtube.com/watch?v=QSzma6u0l-0

[GeneChing]

...and she'll get every one of them to submit.

January 07, 2010
McGregor, Douglas, Fassbender in Soderbergh's 'Knockout'

Steven Soderbergh promised to surround mixed martial artist Gina Carano with strong actors for her feature debut when he first spoke about his revenge spy movie “Knockout,” and he is now delivering the goods.

Michael Fassbender, Ewan McGregor and Michael Douglas are in negotiations to join the cast of the production, which is being financed by Relativity. Dennis Quaid is also in negotiations in join the cast.

Written by Lem Dobbs, the story sees a female spy (Carano) working for a Blackwater-style security contractor who is betrayed by one of her teammates.

McGregor would play the owner of the company, a one-time confidant of Carano who switches allegiances.

Fassbender will play a British agent who teams up with Carano but proves untrustworthy while Douglas will play an American executive of McGregor’s company who works with her to take down the company.

The movie is scheduled to go before cameras in February in several locations around the world and will be selling at the European Film Market in Berlin. Lionsgate is distributing the movie domestically.

Fassbender, repped by WME, is coming off Quentin Tarantino’s “Inglourious Basterds” where he played Lt. Archie Hicox. McGregor, repped by WME and United Agents, next appears in Roman Polanski’s “The Ghost Writer” while WME-repped Douglas, who worked with Soderbergh on the Oscar-winning “Traffic,” wrapped “Wall Street 2: Money Never Sleeps” last month.

[doug maverick]

the original storyline was so ****ing generic...im not a soderbergh fan but ill check this one out.gotta support martial arts in movies...

[GeneChing]

Tatum was in Fighting. Angarano was in Forbidden Kingdom.

Two more joining Soderbergh's spy thriller
Borys Kit
Tue Jan 12, 2010 2:40am EST

LOS ANGELES (Hollywood Reporter) - Channing Tatum and Michael Angarano are in negotiations to join the all-star cast of Steven Soderbergh's spy movie "Knockout."

The film centers on a spy (mixed martial artist Gina Carano) who works for a Blackwater-style security contractor and is betrayed by one of her teammates.

Tatum, who will train with a Mossad agent in preparation for the part, will play one of the agents in her spy cell. Angarano plays a teen who sees Carano in trouble and decides to help, unwittingly ending up as her partner.

The two join Michael Douglas, Michael Fassbender, Ewan McGregor and Dennis Quaid in the Relativity Media production, which begins shooting next month.

The movie will take advantage of tax incentives and rebates in Spain and Ireland to make the most of its $25 million budget.

Tatum, whose credits include "Step Up" and "G.I. Joe," next appears in Lasse Hallstrom's "Dear John" and has "The Eagle of the Ninth," directed by Kevin Macdonald, in the can.

Angarano ("Snow Angels") recently wrapped production on Max Winkler's romantic comedy "Ceremony" with Uma Thurman.

[GeneChing]

I'm changing the title of this thread from 'Soderbergh hits up Carano for film: KNOCKOUT' to 'Haywire starring Gina Carano'

Exclusive: Steven Soderbergh’s ‘Haywire’ Set For April 22, 2011 Release


No, in case you were wondering (or didn’t hear the news), Steven Soderbergh‘s forthcoming spy action/thriller “Haywire” did not receive an Oscar qualifying run in New York and Los Angeles in October. That was basically an AMC ticketing snafu, but the news did create a ruckus on the web for a minute.

Starring non-actor/mixed martial arts fighter Gina Carano, “Haywire” is simply not that kind of picture. Sources close to the project have described it to us as “if Alfred Hitchock made a Pam Grier movie” and let’s not forget it will have a score by David Holmes who composed the funky, retro-exotica scores to Soderbergh’s “Ocean’s 11-13” films (you can almost count on the fact that Holmes will likely score the just-announced “The Man From U.N.C.L.E.” as well) and the tone and mood of “Haywire” sounds like it was greatly affected by his score.

Featuring an all-star cast including Michael Fassbender, Channing Tatum, Ewan McGregor, Michael Douglas, Bill Paxton, Michael Angarano, Matthieu Kassovitz and Antonio Banderas, the picture is a gritty spy thriller written by Lem Dobbs (”The Limey”) and starring Carano as a black ops soldier on mission of revenge after she’s double crossed by one of her team-mates (we read the script and it’s taut, lean and mean; typically no-nonsense work by Dobbs).

Last we heard, Relativity Media had essentially bought back “Haywire” from Lionsgate (Relativity Media financed it but Lionsgate had initially acquired it for North American release, Relativity also recently did the same with “Season of The Witch”—they bought it back) and we were told a late March/early April 2011 release was being planned, bumped off from the original idea of a January release.

That release date stuck. While no one is yet officially commenting on the Lionsgate/Relativity move (Overture who have now been absorbed into Relativity once denied it over Twitter), we’re told the film will be receiving an April 22, 2011 release date. That means the film will be up against Sony‘s “Born to Be a Star” remake, Warner Bros. “Crazy, Stupid, Love” and ironically, Lionsgate‘s own “Tyler Perry’s Madea’s Big Happy Family.” It’s a smart move considering “Haywire” is essentially completely different from all those films and will target an entirely different demographic.

One of Anne Thompson‘s spies saw the film earlier this year and wrote her to say, “Haywire is pretty fine. Very much like John Huston in his ‘Kremlin Letter’/’Mackintosh Man’ period.” McGregor is playing in essence Erik Prince, added [her] informant, who also admired David Holmes’ “way cool” score.

Update/Correction: We’ve been told by sources that “Haywire” is a Lionsgate picture and that no release dated has officially been scheduled. Additionally, Overture was not absorbed nor is it otherwise connected to Relativity.

Kevin Jagernauth posted to Films, Haywire at 10:57 am on November 18, 2010

[GeneChing]

Haywire Official Trailer

Jul 22, 2011
'Haywire' star Gina Carano punches, kicks her way into fans' hearts
By Brian Truitt, USA TODAY
Updated 2d 19h ago


By Claudette Barius
Mixed martial arts fighter Gina Carano made her case as the female Jason Statham today during the Comic-Con panel for Haywire, Director Steven Soderbergh was inspired to base an action film around Carano after watching one of her MMA fights on television, and it marks Carano's feature debut.

"I've never seen someone like her fight – in a cage," said Soderbergh, whose Haywire casts Carano as a former Marine and current special operative for a private firm who is framed for a murder.

Lots of running, jumping, shooting, kicking, punching, choking, kicking in doors and kicking people through doors all ensue.

"It was the time of my life," Carano said. "I woke up everybody with a fresh perspective. I really liked the physical days because I'm a physical person."

Carano met with Soderbergh for the first time soon after her MMA loss to Christiane "Cyborg" Santos in 2009. She still had a black eye she covered up with makeup, and they talked about her life and experiences.

Carano soon went straight into what she calls "Acting 101." "It ruined movies for a couple months for me because I noticed everything," she said, laughing, "But I appreciate actors and what they go through."

She had to go up against a lot of A-list actors in fight scenes for the movie. Soderbergh showed footage of one epic hotel-room throwdown with Carano in an evening dress and Michael Fassbender in a suit.

And in the beginning of the movie, there is a scene in a diner where Channing Tatum had to hit her with a ketchup bottle even though he didn't want to. "Then she called me the female P word and then I had to, for my manity," Tatum said. "Then I hit her and and she hit me back twice as hard. Then I didn't want to hit her anymore."

Haywire comes out in January, and she aims to be back in an MMA match before then. "My first love is fighting," she said, "and I don't think I've got out of my system what I need to yet."

[GeneChing]

Just got this press release. Actually I got it at 01:18 PM 11/6/2011, but that was Sunday and I don't pick up my work email on Sunday.

STEVEN SODERBERGH’S HAYWIRE TO DEBUT AS “SECRET SCREENING” AT AFI FEST 2011 presented by Audi

Free Tickets Available at the AT&T Box Office Sunday, November 6 Starting at 10:00 a.m.

LOS ANGELES, CA, November 6, 2011 – The American Film Institute (AFI) today announced that this year’s “Secret Screening” at AFI FEST presented by Audi will be the debut of Oscar winner Steven Soderbergh’s highly anticipated new film HAYWIRE, starring Channing Tatum, Michael Fassbender, Ewan McGregor, Michael Angarano, Antonio Banderas, Michael Douglas, Bill Paxton and introducing mixed martial arts (MMA) star Gina Carano in a demanding lead role that has her performing her own high-adrenaline stunts. AFI FEST will roll out the People’s Red Carpet prior to the screening on November 6 at 9:30 p.m. where all guests can walk the carpet and pose for photos.

A dynamic action-thriller, HAYWIRE tells the story of Mallory Kane, a highly trained operative who works for a government security contractor in the dirtiest, most dangerous corners of the world. After successfully freeing a Chinese journalist held hostage, she is double crossed and left for dead by someone close to her in her own agency. Suddenly the target of skilled assassins who know her every move, Mallory must find the truth in order to stay alive. Using her black-ops military training, she devises an ingenious – and dangerous – trap. But when things go haywire, Mallory realizes she’ll be killed in the blink of an eye unless she finds a way to turn the tables on her ruthless adversary.

HAYWIRE marks Steven Soderbergh’s 25th film. Relativity Media will release HAYWIRE in theaters January 20, 2012. Soderbergh’s most recent film, the thriller CONTAGION, was released in September 2011. He earned an Oscar nomination for Best Original Screenplay for his directorial debut, SEX, LIES, AND VIDEOTAPE and the Academy Award in 2000 for directing TRAFFIC, the same year he was nominated for ERIN BROCKOVICH. Among his other credits are the films AND EVERYTHING IS GOING FINE, BUBBLE, CHE, FULL FRONTAL, GRAY’S ANATOMY, THE GIRLFRIENDEXPERIENCE, THE GOOD GERMAN, THE INFORMANT!, KAFKA, KING OF THE HILL, THE LIMEY, THE OCEAN’S trilogy, OUT OF SIGHT, SCHIZOPOLIS, SOLARIS and THE UNDERNEATH.

Admission to HAYWIRE is available to AFI FEST 2011 pass holders and free tickets for the screening can be obtained at theAT&T Box Office located in suite 219 at the Hollywood and Highland Center between 10:00 a.m. and 6:00 p.m. today. Tickets are available on a first-come, first-served basis. The Rush Line will begin forming at 8:30 p.m.

AFI FEST – celebrating its 25th year – takes place November 3 through 10 in Hollywood, California, at the historic Chinese Theatre, the Chinese 6 Theatres, the Egyptian Theatre and the Hollywood Roosevelt Hotel.

About the American Film Institute

AFI is America’s promise to preserve the history of the motion picture, to honor the artists and their work and to educate the next generation of storytellers.


AFI provides leadership in film, television and digital media and is dedicated to initiatives that engage the past, the present and the future of the moving image arts. AFI programs include the AFI Catalog of Feature Films and Archive, the AFI Life Achievement Award, now in it's 40th year, AFI Awards, honoring the most outstanding motion pictures and television programs of the year, AFI Fest presented by Audi, celebrating its 25th edition this fall, AFI-Discovery Channel Silverdocs, AFI Silver Theatre and the AFI Conservatory, which was named the # 1 film school in the world by The Hollywood Reporter.

Additional information about AFI is available at AFI.com.

About AFI FEST

Celebrating its 25th year as a program of the American Film Institute, AFI FEST 2011 presented by Audi takes place November 3 through 10 in the heart of Hollywood. Kicking off the awards season each year, AFI FEST offers a crucial avenue of exposure to the entertainment community, while providing appreciative audiences with a festive atmosphere and the very best of global cinema, right in the center of the film capital of the world.

The American Film Market (AFM), November 2 through 9, 2011, is the market partner of AFI FEST. Together, AFI FEST and AFM provide the only concurrent festival-market event in North America. AFI FEST is the only FIAPF-accredited film festival in the United States. The Academy of Motion Picture Arts and Sciences recognizes AFI FEST as a qualifying festival for the Short Films category for the annual Academy Awards®.

Audi is the festival's presenting sponsor. Additional sponsors include American Airlines, the official airline of AFI;AT&T; Pepsi; Merrill Lynch Wealth Management; the Hollywood Roosevelt Hotel; the Cosmopolitan of Las Vegas; Levi’s; Stella Artois; Hollywood & Highland; Entertainment Weekly; Los Angeles Times; and American Film Market(AFM), among many others.

Additional information about AFI FEST 2011 presented by Audi is available at AFI.com/AFIFEST. Connect with AFI FEST at facebook.com/AFIFEST, twitter.com/AFIFEST and youtube.com/AFIFEST.

About Audi

Audi of America, Inc. and its U.S. dealers offer a full line of German-engineered luxury vehicles. AUDI AG is among the most successful luxury automotive brands globally. During 2010 Audi was the top performing luxury brand in Europe, and broke all-timecompany sales records in the U.S. Over the next few years, AUDI AG will invest nearly $16 billion on new products and technologies. Visit audiusa.com or audiusanews.com for more information regarding Audi vehicle and business issues.


About AFM

The business of independent motion picture production and distribution reaches its peak every year at the AFM, when more than 8,000 industry leaders converge in Santa Monica for eight days of deal-making, screenings, premieres, networking, parties and conferences. Participants come from more than 70 countries and include acquisition and development executives, agents, attorneys, directors, distributors, festival directors, financiers, film commissioners, producers, writers, the world's press and all those who provide services to the motion picture industry. The AFM is produced by the Independent Film & Television Alliance (IFTA). More information is online at AmericanFilmMarket.com.

HAYWIRE
January 20, 2012
DIRECTOR: Steven Soderbergh WRITER: Lem Dobbs
CAST: Gina Carano
Channing Tatum
Michael Fassbender
Ewan McGregor
Michael Angarano
Antonio Banderas
Michael Douglas
Bill Paxton
PRODUCERS: Gregory Jacobs
EXECUTIVE PRODUCERS: Michael Polaire, Tucker Tooley

This dynamic action-thriller directed by Oscar® winner Steven Soderbergh (Traffic) boasts a talented cast that includes Channing Tatum (GI Joe: Rise of the Cobra), Ewan McGregor (The Ghost Writer), Michael Fassbender (X-Men: First Class), Antonio Banderas (The Legend of Zoro), Bill Paxton (“Big Love”), Michael Douglas (Wall Street: Money Never Sleeps), Michael Angarano (Almost Famous); and introduces mixed martial arts (MMA) superstar Gina Carano as Mallory Kane, in a demanding lead role that has her performing her own high-adrenaline stunts.

Mallory Kane is a highly trained operative who works for a government security contractor in the dirtiest, most dangerous corners of the world. After successfully freeing a Chinese journalist held hostage, she is double crossed and left for dead by someone close to her in her own agency. Suddenly the target of skilled assassins who know her every move, Mallory must find the truth in order to stay alive.

Using her black-ops military training, she devises an ingenious—and dangerous—trap. But when things go haywire, Mallory realizes she’ll be killed in the blink of an eye unless she finds a way to turn the tables on her ruthless adversary.

Facebook: http://www.facebook.com/haywiremovie

Twitter: http://twitter.com/#!/haywiremovie

[GeneChing]

THR likes it.

Haywire: Film Review
12:51 PM PST 11/7/2011 by Todd McCarthy

Haywire Film Still Relativity - H 2011

The Bottom Line
Martial arts maestra Gina Casrano convincingly kicks considerable ass in Steven Soderbergh's engaging action lark.

Venue
AFI Fest

Director
Steven Soderbergh

Cast
Gina Carano, Michael Fassbender, Ewan McGregor, Bill Paxton, Channing Tatum, Mathieu Kassovitz

Gina Carano stars as a covert operative who proceeds to whup a succession of macho leading men in addition to assorted anonymous foes.

Imagine an entire action film dedicated to the proposition that every fight possesses the intensity of the classic Sean Connery-Robert Shaw to-the-death scrap in From Russia With Love and you’ll know what Haywire is all about. With all the feel of a vacation from more high-minded and ambitious projects, Steven Soderbergh celebrates making his 25th feature film within 22 years with a kick-ass international action romp toplining mixed martial arts star Gina Carano as a covert operative who proceeds to whup a succession of macho leading men in addition to assorted anonymous foes; she’s Pepper to Angelina’s Salt. World-premiered as a surprise sneak preview at Hollywood’s AFI Fest, this Relativity release should enjoy a solid commercial career with action-seeking male and female audiences upon its Jan. 20 release.

A handsome, black-haired hardbody who wears an evening dress as easily as she does a hoodie, Carano exudes the sort of self-confidence and physical wherewithal that leaves no doubt she can prevail in any situation. This is essential because the film rides upon one’s certainty that her character, Mallory Kane, an international troubleshooter assigned to off-the-books missions, can take out virtually any guy in mano a mano combat. Soderbergh shoots her half-a-dozen or so fight scenes without doubles or cheat editing, emphasizing his star’s abilities to the extent that the semblance and extremity of the combat’s reality becomes the film’s entire raison d’etre.

In this, Haywire entirely and winningly succeeds. In one sequence, she chases a young man across half of Barcelona until she catches up with him and lets him have it. Elsewhere, she bounces off walls, leaps from one building to another, employs a devastating leg lock, exhibits extraordinary backward driving skills, shoots unerringly, slams guys into assorted hard surfaces, knows just where to kick and, once, sensing she’s met a physical complement, makes out with a young hunk.

Soderbergh and scenarist Lem Dobbs, who previously wrote Kafka and The Limey for the director, seem keen to admit that the action scenes are the point of the film, content to construct a plainly generic story around them. It’s a straight revenge tale, with Mallory fighting her way through assorted muscle-bound, well-armed and otherwise formidable obstacles in order to find out who set her up for assassination after she pulled off the Barcelona job.

The script makes no attempt to assert its plausibility or realism; it is, instead, refreshingly frank about what it is, a simple, workable framework for the melees and mayhem.

Haywire gets right down to the business in the opening scene, a very rough tussle between Mallory and an agent (Channing Tatum) with whom she has history. Escaping in a car with a freaked-out young man named Scott (Michael Angarano), she relates what’s led up to this tense moment, beginning with the Barcelona caper, which Mallory pulled off with great panache.

Mallory’s point man (Ewan McGregor, with a very ****y haircut) then sends her to Dublin on unwanted arm-candy duty with another operative, the dashing Paul (Michael Fassbender, in glamor-boy mode). The two are very well matched physically, in their sophistication and their ruthlessness, which becomes apparent when Paul, instead of putting the make on her, tries to kill her. Their prolonged struggle, which demolishes a suite at the Shelbourne Hotel, is a tour de force for the performers, director and whoever else helped work out all the moves.

Now knowing she’s been betrayed, Mallory dedicates herself to getting back to the U.S., but must first contend with a platoon of agents who chase her through the streets and across the rooftops of Dublin. Her international travel difficulties conveniently skipped over, the yarn rejoins the present-day as Mallory and Scott’s getaway is abruptly ended so as to force the story to the grand New Mexico home of Mallory’s father (a very good Bill Paxton). It turns out Mallory is just a daddy’s girl after all, the daughter of a former Marine (as she is, too) who is now a renowned author of modern warfare nonfiction. The house becomes the setting for film’s rough penultimate battle before Mallory settles up accounts with her superiors, who also include the smooth top man played by Michael Douglas and a more shadowy figure portrayed by Antonio Banderas, mostly in a bushy graying beard.

The fine use of locations, elegantly mobile shooting style and hair-trigger editing are all in line with what one expects from Soderbergh. But here the generally larky but serious-when-it-needs-to-be tone is set by the wildly diverse musical contributions of David Holmes, whose film score-sampling background and blues-and-jazz techno orientation yield many different flavors to occasionally jarring but overall bouyant effect.

As solid as all the male actors are, in the end the show belongs to Soderbergh, who took a risk with a largely untested leading lady, and Carano, whose shoulders, and everything else, prove plenty strong enough to carry the film. The director shrewdly determined what she could and perhaps couldn’t do, and she delivered with a turn that makes other actresses who have attempted such roles, no matter how toned and buff they became, look like pretenders.

Venue: AFI Film Festival
Opens: Jan. 20 (Relativity Media)
Production: Relativity Media
Cast Gina Carano, Michael Fassbender, Ewan McGregor, Bill Paxton, Channing Tatum, Mathieu Kassovitz, Michael Angarano, Antonio Banderas, Michael Douglas
Director: Steven Soderbergh
Screenwriter: Lem Dobbs
Producer: Gregory Jacobs
Executive Producers: Ryan Kavanaugh, Tucker Tooley, Michael Polaire
Director of Photography: Peter Andrews
Production Designer: Howard Cummings
Costume Designer: Shoshana Rubin
Editor: Mary Ann Bernard
Music: David Holmes
91 minutes

[GeneChing]

I can hardly wait. Gina....

Gina Carano took her fighting to a new level for 'Haywire'
The former mixed martial arts champion was trained by a former special-ops fighter for the role in the action film.


Gina Carano, who stars in the action drama "Haywire," trains with Aaron Cohen, the technical adviser for the movie, at the Burro Canyon Shooting range in San Gabriel Canyon. (Irfan Khan / Los Angeles Times)

By Nicole Sperling, Los Angeles Times

January 1, 2012
It's been one year since Gina Carano fired a gun, but you wouldn't know it watching her shoot one. The former mixed martial arts champion, who will make her feature film debut in the Steven Soderbergh action movie "Haywire," is engaged in lively target practice with Aaron Cohen, an ex-Israeli special ops fighter who served as her tactical training coach on the film. Everything from Carano's crouched stance to the steely glint in her dark-brown eyes suggests that firing 9-millimeter pistols at close range is second nature to this 29-year-old extreme athlete.

"How's my form?" she asks as she fires multiple bullets into the chest of the paper target affixed to a wooden board 30 feet away.

"You haven't forgotten a thing," replies Cohen.

"Wow," says Carano, who earlier emerged from a black SUV at the dusty gun range in full movie-star attire — black leather jacket, lacy top, high-heeled boots — only to quickly transform into a fighter in cargo pants and sneakers, her hair pulled back in two low pigtails.

Geared up in hearing-protection headphones and a tactical fighting vest, she walks up to the target to poke at her center chest hits. "It's just like riding a bicycle."

Carano and Cohen are at the Burro Canyon Shooting Park at the base of the Angeles Crest Highway showing off the skills Carano learned during Cohen's six-week intensive tactical training course designed to transform Carano from mixed martial arts fighter into the role of Mallory Kane, a black-ops private contractor who is double crossed by her employers.

The movie, which opens Jan. 20, is another one of Soderbergh's filmic experiments: This time the Academy Award-winning director reimagines the spy genre within the confines of physical realism. Rather than employ movie technology audiences have grown accustomed to — stunt doubles, quick film cuts, wire work — Soderbergh opted to approach the genre with a real-life fighter as his lead and a real-life elite soldier as his technical adviser. He then surrounded Carano with such actors as Michael Fassbender, Michael Douglas and Ewan McGregor.

The result is a high-paced action film with kinetic fight scenes that stand apart from those in other films because they look so real.

"I really wanted to make a spy movie that wasn't a fantasy, in which the scale of it was very human," said Soderbergh. "Then I saw Gina on TV, and I thought, 'She is [James] Bond,' just in a different context."

With little more than that idea in his head, Soderbergh first arranged to meet Carano in summer 2009, one week after Carano lost her first mixed martial arts fight against Brazilian fighter Cristiane "Cyborg" Santos. Sporting a black eye and a downtrodden attitude, Carano reluctantly picked up Soderbergh from a train station in San Diego, where she was living at the time.

"I didn't want to talk to anybody, see anybody," said Carano, who was surprised when their meeting turned into a four-hour lunch. "We had this normal conversation. He was feeling me out. He wanted to know what kind of person I am. And I didn't have any preconceived notions of him because I didn't really know what a director really was."

Soderbergh knew Carano mainly from her YouTube fights, where with her hair pulled back in tight cornrowed braids, she relentlessly punches and kicks her opponents, often breaking their noses and knocking them out. The director wanted to see if there was more to her than the intense brutality she conveys during her bouts. He was hoping for something soft, feminine, maybe even vulnerable.

Soderbergh, who previously cast adult film star Sasha Grey as his leading lady in "The Girlfriend Experience," knew the secret to working with untrained actors is to capitalize on their true character.

"The more you play to the essence of their personality, the more success you are going to have," said Soderbergh. "I found her genuine, sincere and very female. She was in some respects very girly, which I thought was great. Even early on, I was hoping to have her play both sides of this, a girl in a beautiful dress who could also chase a guy down on foot. I had no doubts about that after I talked to her."

For Carano, the Soderbergh interaction couldn't have come at a better time. After being heralded as the face of mixed martial arts, Carano had suffered a significant professional setback, losing in the first round to Cyborg in July 2009. At a crossroads with her career, the chance to be a lead in a major motion picture from a highly regarded director was an opportunity she couldn't turn down.

"I've always heard these stories about Hollywood and what you have to do to be in Hollywood but [Steven] was so professional and appropriate and I thought, 'Absolutely, I'll make a movie with you,'" said Carano.

A physical kid growing up in Las Vegas, where she attended a small Christian school, Carano never considered herself a violent person, but throughout her life, fights kept coming her way. Whether it was the guys who jumped her in high school or the basketball opponent who charged her over a jump ball during a game, Carano may not have instigated the altercations, but she wasn't ever willing to back down from one. Perhaps it was a trait she inherited from her father, former Dallas Cowboys quarterback Glenn Carano.

"My dad and mom always taught me to stick up for myself so it's kinda in my blood," she said.

Carano started training in the sport of muay Thai at age 21, at the suggestion of her then-boyfriend fighter Kevin Ross. The striking brunet — whose profile should be on the head of a coin, according to Soderbergh — recently had abandoned a couple of scholarship opportunities to play collegiate basketball and softball, opting to stay close to home to help her struggling sister and study psychology at the University of Nevada, Las Vegas.

[wenshu]

I just noticed that this was written by Lem Dobbs. The Limey is one of my favorite movies.

http://www.youtube.com/watch?v=7BaXPg_2FJ4

[Kevin73]

I don't think she is "thick" at all. I think that people forget most of the time we have only seen her when she was prepping for a fight. Also, most of us who followed her fight career know that she has always had trouble dropping down to meet weight.

I think it's the big boobs.

[Hebrew Hammer]

I'm going to see this...just for her, but it looks like it might be a pleasant surprise.

[GeneChing]

'The Mandalorian' Star Gina Carano on Cara Dune's Secret Backstory
DECEMBER 03, 2019 4:06PM by Brian Davids


Gina Carano | NICK AGRO/AFP via Getty Images

The actor also reveals her big fight with Mando originally went differently and recalls the filmmakers who have flocked to set: "Spielberg, the Coen brothers and Seth Rogen have visited."
[This story contains spoilers for episode four of Disney+'s The Mandalorian.]

When Jon Favreau created The Mandalorian’s Cara Dune, Gina Carano was the only actor he had in mind. Not only did he not audition anyone else, he even named the character after Carano: Cara-no. Introduced in Bryce Dallas Howard’s “Sanctuary,” Carano’s Cara Dune is a former Rebel shock trooper who partners with the Mandalorian (Pedro Pascal) to protect a local village of krill farmers from continued attacks by Klatooinian raiders. The raiders’ most recent pillage cost the farmers their latest harvest as the Klatooinians commandeered an AT-ST — a leftover imperial vehicle with advanced weaponry.

According to Carano, there is much more to Dune’s story, something the Rebel tattoo under her eye indicates.

“The eye tattoo has a much deeper meaning once we get into it,” Carano tells The Hollywood Reporter. “Obviously, it’s a Rebel tattoo, but there’s much more to that story. So, I’m excited for that.”

The Mandalorian is setting a new precedent as the series is being shot with state-of-the-art virtual reality technology that creates an immersive experience for actors on-set. Since word travels fast around town, the Mandalorian set has been a who’s who of Hollywood heavyweights.

“It’s really interesting because [Steven] Spielberg, the Coen brothers and Seth Rogen have visited to check out the set,” Carano relays. “Everyone wanted to see what Jon Favreau is doing over here in these Manhattan Beach studios. As an actor, even with Baby Yoda and the Ugnaught, you feel so in the moment because it all feels so real. When you put on your armor, you walk into that world, and that’s been an incredible blessing for my imagination.”

In a recent conversation with THR, Carano discusses working on The Mandalorian’s cutting-edge virtual reality sets, how she’s adapted her MMA skills to screen fighting, working with Baby Yoda and that Mando fight (“the choreography was originally something else”).

First order of business: Is it Care-uh or Car-uh? I bring this up because Mando referred to her as “Care-uh,” but I’ve heard you say “Car-uh.”

I know! (Laughs.) It’s Car-uh; it’s definitely Car-uh. In the beginning, everybody on set asked me, “How do you say your name?” and I would say “Car-uh.” But, for some reason, it’s natural for some people to say “Care-uh.”

Well, you’re in good company as the pronunciations of Leia and Han differed to varying degrees, too.

Oh, really? Oh, my gosh, that’s so funny. I had no idea. Thank you for telling me that because I’m going to use that later.

Your character was given a Han Solo or a gunslinger-in-the-corner-of-the-saloon-type introduction. Then, she had the ice-breaking fight with Mando. Were you and the brain trust conscious of wanting to give this woman an introduction that is usually reserved for men?

Originally, I feel like this all came from Jon and Bryce. I got together with the stunt guys, and we did some different types of choreography and previz. I’ve read a little bit online, and it feels mostly positive as I have so many people who are rooting for this strong female character. But, others are wondering how she did so well against the Mandalorian, who are the badasses of the galaxy. I can tell you that the choreography was originally something else, and we made it to where she got the jump on him. It comes to a draw at the end of the fight so we both get our licks in. They’re both battle-hardened warriors, and I feel like they both have an understanding of what they were dealing with. I definitely think Cara stands out in a way that’s very different from someone like Leia, who’s also very strong and independent. I think that’s exactly what Jon wanted to bring to the Star Wars universe as far as my character. He wanted my arms to show, and I’m like, “Long sleeves!” (Laughs.) He wanted my character to be this new soldier of women, and he wanted her to have an impact. For me, it’s been a way to embrace who I am, and if the biggest complaint is that I’m too strong, it’s really a compliment to me. (Laughs.)


The Mandalorian | Disney+

Given your background in mixed martial arts, how helpful are your existing skills when it comes to screen fighting? Or, is screen fighting completely different?

Not every fighter or physical person can transition. What I’ve actually done in the last nine or 10 years of being in this business is I’ve adapted to onscreen fighting. I used to dance when I was a little girl; I did jazz, tap and ballet. It’s also so much more than that as you have to learn to give shots and take shots. The more you sell it, the more the fight scene goes well. A lot of people that come in with egos and are conditioned to “I must be the baddest person in the room” have trouble understanding that. You’re not gonna win everything, and you have to sell that body shot and face shot. I think I’ve had a little less of an ego as I come at it from an art and dance perspective with the skill set of a fighter. That’s really worked out for me, and I’m really proud of that because not everybody has been able to transition so well. (Laughs.)

On Haywire, you had to convince your male co-stars that they didn’t have to pull their punches. Did you have to have that conversation with the stunt performers on The Mandalorian?

Since I’ve been in this now for a long enough time, especially with the Mandalorian stunt team, they understand that I understand. I think the stunt community has kind of accepted me as one of their own because I come in, we collaborate and we do this together. I think I’ve been doing it for a long enough time that I’ve developed a good reputation in the stunt community to where I don’t injure or hurt people. I make sure to ask, “Is this a good amount of pressure?” It’s funny because stunt guys and girls like that you give them just a little bit so their reactions are good. I like the same thing, too, so we’re usually on the same page. You have to have the conversation, though, because if you’re working with a stunt team the entire day and you’re kicking someone from a wide shot to a closer shot, that spot can get a little sore. So, you have to pick your moments. If it’s a wide shot, maybe give it a couple good kicks, but wait until you get to the closer shots to give it a bit more. It’s just a matter of communication and trust. The stunt team on Mandalorian have been like brothers and sisters to me.

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[GeneChing]

On the set of The Mandalorian | Disney+

Since Howard is an actor-director, what was she able to provide you that most non-actor directors don’t?

She’s got this fire in her eyes. She pays attention to everything, and she has complete 100 percent control of the set. She’s focused, hungry and passionate. Other directors do different things, but Bryce would bring a little tiny apple box out with an iPad to watch the replays on. She would sit there with you and direct you. She’d have a conversation and talk it through with you based on how she’s worked things out as an actress. She’d listen to my thoughts and ideas. She was very motherly and protective of our performances. She’s probably been in this business long enough to know that you don’t always get a director who’s going to protect you and give you the opportunity to express yourself and give you the chance to do it the way you want to do it. Bryce will try it this way and that way, and then she’ll let you try how you like it. She’s very protective over her actors and story. When she laughs, the entire building heard it. The one word I’d use to describe her is fiery.

What are these virtual reality sets like? During the battle sequence, could you see the AT-ST actually rendered on the display you were looking towards?

The AT-ST, no. But, the set is not a green screen set. It’s a completely different animal. It’s really interesting because [Steven] Spielberg, the Coen brothers and Seth Rogen have visited to check out the set. Everyone wanted to see what Jon Favreau is doing over here in these Manhattan Beach studios. On film, it looks incredible. As an actor, even with Baby Yoda and the Ugnaught, you feel so in the moment because it all feels so real. When you put on your armor, you walk into that world, and that’s been an incredible blessing for my imagination.


The Mandalorian | Courtesy of Disney+

What’s the Baby Yoda phenomenon been like from your vantage point?

I learned about Baby Yoda when I read the script after getting the job. When doing promotion at Star Wars Celebration, D23 and the press junket, we were already getting such a great reception, and meanwhile, we were all giving interviews to excited people and thinking, “You don’t even know the best part of it!” (Laughs.) I think it was so smart of Jon and Kathleen Kennedy to keep it such a secret. That was just genius to have people be surprised over something they were already excited about, and now everybody is absolutely in love with this little baby. When you’re acting with it, you’re just like, “Oh, my gosh, it’s insanely cute.” These puppeteers gave it its own personality; it’s a little actor. Jon once belly-laughed and was like, “No matter what, this little guy is going to steal the scene in every scene that he’s in. Just know that you’re all going to be number two to this.” (Laughs.) That’s our little star of the show — 100 percent. There’s no stealing a scene from Baby Yoda.


The Mandalorian | Disney+

Cara seems to be running from something since she feared that Mando had a bounty on her head. She also mentioned that she was forced into an early retirement. Did you know her full backstory when you shot this episode?

Yeah, I did. I knew it from conversations with Jon and Dave. They withhold little bits and pieces from me, and they’ll come in and say, “Oh, yeah, also this…” Before I did the introductory scene, Jon told me a secret about my character, and it added so much depth to what her life has been like. I think she’s a really cool character, and I think the sky's the limit with telling her story. When I read the script, I just felt like Jon wrote a little diamond of a character. I’ve been waiting for something like this for so long, and I love putting on the armor and thinking about the possibilities.

Since I’m only well-versed in the films, what’s the significance of the arm tattoo?

I thought you were going to ask about the eye tattoo. (Laughs.) I’d have to go back and do a refresher on it, but I think that comes from the Rebel Alliance in the Galactic War. I also think it came from one of the producer’s sons who watches The Clone Wars or something like that. I think it’s definitely an Easter egg that attaches me to those soldiers. I know that is an awful explanation, but the eye tattoo has a much deeper meaning once we get into it. Obviously, it’s a Rebel tattoo, but there’s much more to that story. So, I’m excited for that. A girl just tagged me in a photo the other day because she just got it tattooed on her cheek. I just sent Bryce a text message that said, “Bryce! It happened. Somebody got a Cara Dune tattoo on their cheek.” It’s been a crazy zero-to-one-hundred thing already.

I’ve had such an up-and-down career so far. When I worked with Ewan McGregor on Haywire, he said, “Make sure you love the script, get along with the director and respect the director.” He told me that 10 years ago, and, of course, I felt like I had to put in my time and do my time on those independent movies. I really wish I would’ve listened to those words because he was telling me something from experience. Now, after having this up-and-down career, that’s going to stick with me moving forward. I am going to work with people I respect — on stories I’m passionate about. I’m going to be patient and wait for those to come through. After The Mandalorian season finale, I hope people have seen the growth in my work and the hard work I’ve put into acting. I always say this, but I still feel like I’m just getting started.

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