The cause of Jean-Marc Vallée’s sudden death has been shared.
The “Big Little Lies” director died at the age of 58 on Christmas Day in Quebec from “a fatal cardiac arrhythmia secondary to severe coronary atherosclerosis,” according to a family statement explaining the coroner’s report, obtained by Deadline.
Coronary atherosclerosis, or coronary artery disease (CAD), is a common heart disease that occurs when plaque builds up on the walls of the arteries, according to the Centers for Disease Control and Prevention. The disease blocks blood flow to the heart and can result in cardiac arrhythmia, or an irregular heartbeat, which can be fatal.
On April 13, Vallée’s sons Alex, 29, and Émile, 25, showed appreciation for the director’s fans, saying in a statement that they have received lots of messages about Vallée’s “friendship, esteem and respect.”
They shared, “We are sincerely grateful and we hope that his creativity will continue to serve as inspiration and guidance to the people in this industry that he was so passionate about.”
‘Big Little Lies’ Stars at the 2020 Golden Globes
In December, an initial report left Vallée’s family unclear about the cause of his death. In a statement obtained by E! News at the time, the family explained his passing “was not caused by the intervention of another party, a voluntary act, or a known disease.”
Vallée’s two sons, who he shares with ex-wife Chantal Cadieux, previously wrote that they will remember their father as a “generous man, deeply human and who lived life to its fullest.”
“He wanted to live a long life and was working on major projects,” they said in December. “He was a source of inspiration for many and leaves wonderful memories for those who had the privilege to work with him, to love him and to appreciate his craft.”
Vallée is also the director of movies like “Dallas Buyers Club,” “Wild” and “C.R.A.Z.Y.” His talent won him two 2017 Primetime Emmy Awards for outstanding limited series and outstanding directing for a limited series, receiving the recognition for his work on “Big Little Lies.”
The show’s cast shared their condolences on social media after news of his death was announced, remembering the moments they shared on set with Vallée.
“Big Little Lies” alum Nicole Kidman posted a series of photos with the late director, writing in the caption, “It’s hard to imagine someone as vital, energetic and present as Jean-Marc being gone. I’m shattered. He was at the center of my creative universe and I can’t overstate his significance to me.
“Jean-Marc was not only responsible for some of the most rewarding professional experiences of my career, but his friendship, kindness and love were an inspiring force I will carry with me,” she added. “I will always cherish those nights filming above the crashing waves of Big Sur … It doesn’t get better than that. I am forever grateful for my time shared with this extraordinary human.”
Five of Sony’s ‘Spider-Man’ movies are coming to Disney+
Disney+ has announced that six Spider-Man films and the 2018 film “Venom” will be launching on the streaming service in the United States. Tobey Maguire’s trilogy of “Spider-Man,” “Spider-Man 2” and “Spider-Man 3” and Andrew Garfield’s “The Amazing Spider-Man” will arrive on the platform tomorrow, while Tom Holland’s “Spider-Man: Homecoming” and Tom Hardy’s “Venom” will arrive on May 12.
The launches will be a welcome addition to the platform for Marvel fans, especially since the vast majority of Marvel movies are already on the streaming service.
It’s worth noting that the list is missing a few Spider-Man movies, as “The Amazing Spider-Man 2,” “Spider-Man: Far From Home” and “Spider-Man: No Way Home” aren’t included. These films will likely hit the streaming service sometime in the future, considering that Disney+ said in a press release that additional titles from Sony Pictures’ film and television library are expected to premiere on the platform later this year.
Today’s news isn’t surprising, given that Sony and Disney announced a deal back in 2021 to bring Spider-Man and other films to Disney+.
Teen goes from high school football standout to wanted fugitive for liquor store murder
The Palm Beach Sheriff’s Office announced on Tuesday that a former Palm Beach Central High School football standout is now a 19-year-old wanted fugitive.
Detectives accused Brandon Mackenzie Frazier of fatally shooting a man at about 6:40 p.m., on March 21, at 777 Liquors, at 3613 S. Military Trail, in the Lake Worth Corridor area.
Frazier doesn’t have a criminal record. Palm Beach County court records show deputies arrested him late last June, but prosecutors later decided to drop the case.
Deputies reported finding the victim dead inside the 777 Liquors store. And about three weeks after the shooting, a judge issued a warrant for Frazier’s arrest on charges of first-degree murder with a firearm and shooting within an occupied dwelling.
Frazier, who is over 6 feet tall, played football as both a cornerback and free safety in high school, according to his Hudl profile. When he was a junior, New Era Prep reported he was the “No. 5 bubble player in Palm Beach County,” which meant he was “on the cusp of having a true breakout moment at some point.”
Frazier’s tweets from 2019 to 2021 show him working hard on the football field, wearing his 22 Broncos shirt, getting invitations to football camps, and visiting the University of Miami. The teen was in Palm Beach Central’s class of 2021.
Nearly two years after he left the school, Palm Beach Sheriff’s Office deputies distributed a flyer with his picture offering a $3,000 reward for information leading to his arrest for the murder.
Dafoe’s ‘Inside’ asks how art helps us escape isolation
LOS ANGELES – Willem Dafoe has said that, for him, the process of making a movie always eclipses the finished product.
But after more than 130 film credits, the 67-year-old actor has finally found a project whose final form is on par with the experience of creating it.
“When I watch this movie, I say, ‘Okay, I feel like I’m there again,’” he said. “Although there’s lots of stuff that we had invented that gets cut out, it feels like the making of it.”
That assertion is impressive, given how much “Inside,” Vasilis Katsoupis’ fiction directorial debut, asked of its lead and virtually only actor.
“It really required a lot of different states and different approaches, I would say. But it was great fun,” Dafoe recalled.
Set entirely inside a single apartment and with no foils for Dafoe’s character to rely on, “Inside” is completely dependent on his performance, which is so compelling you forget he is the only person on screen for the better part of 100 minutes.
It follows an art thief named Nemo (Dafoe) who gets trapped inside a collector’s apartment during a botched heist. Nemo is pushed to his limits, braving extreme temperatures, flooding and limited access to food and water, all within the confines of a luxury Manhattan apartment.
Despite the physical and psychological toll that Nemo suffers throughout the film, Dafoe said he was able to distance himself from his character’s tribulations.
“You’re going to some maybe dramatic places or some difficult places, but you’re also enjoying the interplay with the other people,” he said. “You’ve got the camera, you’ve got the film language behind you, so you’re playing with these things.”
More than just a psychological thriller, “Inside” considers the ways in which art rescues humans in modern society from an isolated existence — a way out from being trapped inside of ourselves. Through his meditations on William Blake’s “The Marriage of Heaven and Hell,” Nemo discerns that liberation can only be attained through creation.
For Dafoe, the philosophical exploration of the human relationship to art was not as apparent in the script, but “really came out in the doing of it,” the actor recalled, reflecting on the ways he found beauty in making art pieces for the film.
“That was so enjoyable. You lose yourself in those things. You don’t necessarily know what they’re for, but they feel so useful and so healthy and so necessary,” he said.
“There are certain things that are purely physical, and you don’t always get to do these scenes with no dialogue,” he said. “Meditative sections that you’re really by yourself and there’s nothing to accomplish.”
And while the specifics of the plot of “Inside,” which wrapped filming in June 2021, may not ostensibly feel universal, almost everyone on this side of the coronavirus pandemic will relate to the film’s scant human interactions, vague conception of time and claustrophobic cinematography.
“Inside” hits theaters March 17.
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