Fox has moved DreamWorks Animation’s family film “The Croods 2” from 2017 to an unknown date in 2018.

The animated film had been set to hit theaters on Dec. 22, 2017, but Fox has moved its own “The Story of Ferdinand” into that slot. Based on the classic 1936 children’s book, “Ferdinand” was previously set to open July 21, 2017.

Fox has handled DreamWorks Animation’s release slate since 2013, starting with “The Croods,” but it’s uncertain how much longer it will do so following Comcast-owned NBCUniversal’s acquisition of DreamWorks Animation in April. The $3.8 billion deal is expected to close by the end of the year with Jeffrey Katzenberg stepping down as CEO to pursue new ventures.

Three other DreamWorks movies are set to be released through — “Trolls” on Nov. 4; “Boss Baby” on March 31, 2017; and “Captain Underpants” on June 2, 2017. Universal had no comment on “The Croods 2.”

“The Croods,” produced for $135 million, was a major success, grossing $587.2 million at the worldwide box office. The film was set in a pre-historic era and starred Nicolas Cage, Emma Stone, Ryan Reynolds, Catherine Keener, Clark Duke, and Cloris Leachman. It was written and directed by Kirk DeMicco and Chris Sanders, and produced by Kristine Belson and Jane Hartwell.

Leslie Mann and Kat Dennings join the voice cast for the sequel, with DeMicco and Sanders returning to direct.


Rihanna and Anne Hathaway are in negotiation to join “Oceans Eight,” the all-female reboot of “Oceans Eleven.”

Sandra Bullock, Cate Blanchett, Helena Bonham Carter, and Mindy Kaling, who had previously been linked to the Warnwr Bros. And Village Roadshow co-production, are leading the ensemble. Nora Lum (better known by her rap name Awkwafina) has also boarded the spinoff from director Gary Ross (“The Hunger Games”).

The film, led by Bullock, will follow a similar path to the George Clooney-starrer about a group of thieves and cons who try to pull off a major heist.

Ross told Slashfilm in June that the pic continues the “Oceans Eleven” trilogy, which also starred Brad Pitt and Matt Damon.

“It’s a pretty similar tone. You know, Steven Soderbergh and I are incredibly close friends, and we would not have done this if we weren’t. I don’t think he would’ve wanted anyone to do it if we weren’t,” he said. “This is very much an extension and a continuation.”

“Ocean’s Eleven” director Soderbergh and Ross will produce with Olivia Milch penning the script. Susan Ekins is executive producing, while Greg Silverman and Jesse Ehrman are overseeing the film for the studio.

Production is scheduled to begin in October in New York.

Rihanna can be seen next in the Luc Besson-helmed “Valerian and the City of a Thousand Planets.” She is repped by WME.

Deadline Hollywood first reported the news.


Warner Bros.’ “Suicide Squad” is showing impressive traction at the U.S. box office, topping $161 million in its first five days and setting records for the month of August.

The supervillain tentpole grossed $14.3 million on Tuesday, up 9% from Monday’s gross of $13.1 million. Both figures eclipsed the August records set two years ago for those days by “Guardians of the Galaxy.”

“Suicide Squad” grossed $133.7 million on its opening weekend — far above forecasts and nearly $40 million above the record set by Disney-Marvel’s “Guardians.” Starring Will Smith, Margot Robbie, Viola Davis and Jared Leto, “Suicide Squad” has wound up succeeding among moviegoers despite being battered by reviewers with a current 26% rating on Rotten Tomatoes.

The film, directed by David Ayer, also dominated the international box office with an opening weekend of $133 million from 57 territories. Warner Bros. spent $175 million to produce “Suicide Squad” as part of its strategy to create an interlocking DC Universe of characters, much like Marvel’s Cinematic Universe.

The second weekend of “Suicide Squad” looks to hold off a trio of newcomers at the U.S. box office — Disney’s “Pete’s Dragon,” Sony’s animated “Sausage Party” and Paramount’s “Florence Foster Jenkins.”

Early estimates have placed  “Suicide Squad” in the $45 million to $48 million range for its second frame, amounting to a 65% decline from its opening weekend. “Pete’s Dragon” is forecast to top “Sausage Party” with about $25  million.


Adult animated comedies are few and far between, which makes Seth Rogen‘s “Sausage Party,” which premiered at the Mann Village Theatre on Tuesday night, all the more appetizing with its foul-mouthed, sexually-explicit jokes served up by your favorite food.

While it may be targeting an older crowd, Rogen said the movie’s inspiration isn’t entirely R-rated.

“It was largely inspired by our love of children’s animated movies, Pixar movies and DreamWork movies,” said Rogen, who voices the lead, Frank, and created the story alongside Jonah Hill and Evan Goldberg.



SXSW Film Review: ‘Sausage Party’


“We were also huge fans of ‘South Park’ and ‘The Simpsons.’ We just thought one day someone will make an adult-oriented animated movie and we just really wanted it to be the first people to do it,” he continued.

A few of the film’s other voice actors, including Danny McBride and David Krumholtz, also attended the premiere, in addition to Rogen and Hill’s “Superbad” costar Michael Cera, who said “it was so fun to work with those guys and I’m glad to have the opportunity to do it more than once.”

With dozens of children’s animated films between them, the film’s directors Conrad Vernon and Greg Tiernan said the R-rated comedy wasn’t a major shift, but it did require some restraint.

“The easy thing that everyone felt that they could do was ‘great we’re being released, we can do whatever the heck we want now because this is for adults,'” said Tiernan.

“Conrad and I had to crawl it back a little bit from there because it’s so easy to be gratuitous and go completely in the opposite direction of what you’re used to doing, but you can’t really watch 90 minutes of that. There’s got to be some heart and soul to the story as well.”

“Sausage Party” bows in theaters on Friday.


At the edge of Cinecittà Studios in Italy, a faux Roman statue raises its torch above all who enter. The 30-foot figure is a relic from one of the most famous scenes in cinema history — the
Charlton Heston chariot race from director William Wyler’s 1959 epic “Ben-Hur,” which boasted the biggest budget and largest sets of any production of its time.

Well-Grounded: Actors Toby Kebbell (left) and Jack Huston, and director Timur Bekmambetov (right) strate-gize over a scene. Courtesy of Paramount

“Early testing revealed that there were people who thought they knew ‘Ben-Hur,’ but when you asked further questions, you realized they were confusing it with ‘The Ten Commandments.’ ”
Megan Colligan, Paramount

“I was like ‘Oh my gosh! F—k, I cursed,’” laughed Diane Kruger at the New York City premiere of her film “Disorder” at Landmark Sunshine Cinema on Tuesday night. The German actress was referring to her appearance on “The Late Show with Stephen Colbert” a few days before where she dropped the F-bomb while imitating a German accent. “I was delirious,” she joked.

Kruger alongside writer-director Alice Winocour was celebrating the American open of “Disorder (Maryland),” which bowed at Cannes Film Festival in 2015. The psychological thriller follows a former soldier (Matthias Schoenaerts) suffering from post-traumatic stress disorder who is hired to protect a wealthy businessman’s trophy wife (Kruger) and son.

Winocour said she was inspired by the stories of soldiers, but was personally drawn to PTSD because of her own struggle with the disease. “I also have experienced PTSD myself — giving birth to my daughter and almost dying of it,” she confided. “I didn’t know if I was dead or alive, but I could hear all the sounds of the electronic machines around me and I think that’s what inspired me.”



Cannes Film Review: ‘Disorder’


Kruger told Variety she was attracted to the film because of the growing sense of emotional disorder. “It’s a psychological thriller with a very slow burn. It takes time to install this sense of neurotic[ism] and paranoia,” explained Kruger. “I love that my character goes from being this trophy wife to this vulnerable person who finds her own life.”

After the screening, Kruger and Winocour snapped photos by the rooftop pool at Jimmy at The James Hotel. Guests including Paul Haggis, Georgina Chapman, Laura Michelle Kelly, and Brandon Victor Dixon (the newest “Hamilton” cast member) enjoyed sliders, chicken and cheese dumplings, and the aptly film-inspired QUI Tequila cocktails “Night Watch” and “Riviera Intrigue” while overlooking Manhattan.

“Disorder” opens in theaters August 12.


“Aquaman” star Jason Momoa is in talks to play the title role of Relativity’s “The Crow” reboot.

Corin Hardy will direct the film, which is based on the comic book property of the same name. The 1994 adaptation starred Brandon Lee in his last major film role prior to his untimely death, which occurred on the set of “The Crow.”

The story follows a musician who is murdered while trying to save his fiancé. He is then brought back from the dead by supernatural forces and seeks revenge.

Relativity, which recently emerged from Bankruptcy, has had the film in development since 2012 with actors like Bradley Cooper and Jack Huston also circling the role.

Momoa, who is playing Aquaman in the DC and Warner Bros. franchise, made his first appearance in “Batman v Superman: Dawn of Justice.” He will next be seen in “Justice League” before starring in his solo “Aquaman” film set for 2018. That film also stars Amber Heard and will be directed by James Wan.

Momoa’s also starring in Netflix’s series Frontier and the indie “Braven.” He’s repped by APA, LINK Entertainment and Edelstein, Laird & Sobel.

The news was first reported by Mashable.


Antoine Fuqua is in talks to direct Universal Pictures’ reimagined take on one of its most well-known properties, “Scarface.”

Jonathan Herman wrote the most recent draft, with earlier drafts written by Paul Attanasio and David Ayer.

The film will be a Bluegrass Films and Global Produce production, and will be produced by Marc Shmuger, Scott Stuber and Dylan Clark. Marty Bregman, producer of the 1983 “Scarface” film, will also produce.

The pic is a reimagining of the core immigrant story told in both the 1932 and 1983 films. The new film will be set in Los Angeles.

Exec VP of Production Jon Mone and VP of production Jay Polidoro will oversee the project for Universal.

Fuqua (“Training Day”, “The Equalizer,” “Southpaw”) is currently awaiting release on Sony’s “The Magnificent Seven.” He is repped is represented by CAA and Ziffren Brittenham.

Deadline Hollywood first reported the news.


“Every party must end, and left behind are the lonely people.” Sounding like a deleted lyric from “Eleanor Rigby,” that line hints at only half the melancholy in “Aloys.” In what capacity any other guests were ever present is the driving question, however, of this enticingly strange psychological mystery, in which a grief-stricken private investigator’s attempts to track down an alluring anonymous caller seemingly lead him into the recesses of his own mind. Sampling “The Conversation” and “Memento” via a wintry, surreal strain of Euro arthouse storytelling, this auspicious, eccentric debut for Swiss writer-director-editor Tobias Nölle might stretch some of its cleverest ideas past breaking point; it’s hard to shake the feeling that “Aloys” is a killer short film rattling about inside an inventively uneven feature. Still, Nölle’s sharp, shivery aesthetic — with its highly formalized framing and dreamy use of color — lends real distinction to a curiosity that has already found traction on the festival circuit.

In line with its detective protagonist’s natural bent toward deconstruction and compartmentalization, even the essential establishing facts of the film’s narrative require some assembly. Through a series of stark, melancholy images — an empty apartment, a running tap, a resting corpse — viewers can piece together the immediate personal history of the eponymous Aloys Adorn, played with mournful reserve by Austrian star Georg Friedrich. A middle-aged loner whose chief interaction with the outside world has hitherto come via a small-time gumshoe agency run in partnership with his father, he retreats, if anything, even further into himself when the old man (Karl Friedrich) finally passes on. In an apparent state of denial, he continues to run the practice as if his father were still alive; spending his days invisibly following and recording his surveillance targets, meanwhile, hardly does wonders for his social skills.

The stalker becomes the quarry, however, when a bag containing Aloys’ various surveillance tapes is stolen off a bus; shortly afterwards, he receives a call from a smooth-voiced woman (a wily, promising turn from screen debutante Tilde von Overbeck), later introduced as Vera, who threatens to send the tapes to their subjects. Having thus strung Aloys into compliance, she initiates him into the practice of “phone-walking” — a therapeutic technique she claims was invented by the Japanese for the chronically shy, by which participants have to mentally place themselves in the locations and situations described by the caller.

As a relationship between the two builds via this curious remote device, Nölle begins elegantly shuffling the protagonist’s layers of perception, delusion and imagination, making it increasingly hard to determine what in this game (down to the game itself) is real. Is Vera a guardian angel or a cruel prankster, and is she a figment of the protagonist’s imagination either way? The film’s first half deftly holds such questions aloft, but once Vera takes physical form — one that doesn’t necessarily overlap with Aloys’ now entrenched conception of her — some ambiguities dissipate while others begin to feel a tad overworked. The tension between Aloys’ fragile states of consciousness is touchingly enacted in Friedrich’s quietly nerve-raddled performance, but doesn’t entirely sustain 90 minutes of narrative rug-pulling.

“Aloys” is consistently enlivened, however, by its eerie visual ingenuity, with cinematographer Simon Guy Fässler’s sculpted lighting schemes and Su Erdt’s meticulously unspectacular production design — playing muddy neutrals against brash stabs of poster-paint color — combining at moments to evoke the uncanny, hyper-real quality of Gregory Crewdson’s photography. For Nölle, this construction of a quasi-fantastical aura from a drab urban setting bodes well for what he might achieve with bigger budgets and broader genre remits; as it is, this singular debut draws up quite an elaborate mindmap of its own.

Film Review: 'Aloys'

Reviewed at Berlin Film Festival (Panorama), Feb. 16, 2016. (Also in Edinburgh, Karlovy Vary, Fantasia, Locarno festivals.) Running time: 91 MIN.


(Switzerland-France) A Hugofilms production in co-production with Petit Film, Schweizer Radio und Fernsehen, SRG SSR, Arte. (International sales: New Europe Film Sales, Warsaw.) Produced by Christof Neracher. Co-producer, Jean des Forêts.


Directed, written, edited by Tobias Nölle. Camera (color, widescreen), Simon Guy Fässler.


Georg Friedrich, Tilde von Overbeck, Karl Friedrich, Kamil Krejci, Yufei Lee, Koi Lee, Sebastian Krähenbühl, Agnes Lampkin. (German dialogue)

LOCARNO, Switzerland — The Locarno Film Festival’s Open Doors co-production lab dedicated to works from South Asia has picked its winners out of 8 selected projects.

They are:

“Day After Tomorrow,” by Kamar Ahmad Simon, Bangladesh. Winner of a production grant worth 30,000 Swiss Francs ($30,400). And also of the ARTE International Open Doors Prize worth Euros 6,000 ($6,600).

This is the second installment of a “water-trilogy” that started with non-conventional docu “Are you listening!,” which won the Grand Prix at the Cinema du Réel fesival in Paris. The director travelled more than 200 kilometres by waterways to shoot it, while also making a metaphorical journey through the mainly Muslim population of Bangladesh, on the eve of an election.

“The Red Phallus,” by Tashi Gyeltshen, Bhutan. Winner of a production grant worth 20,000 Swiss Francs ($20,300).

This first feature is described as being about the paradox that sees people killing other people while talking about attaining enlightenment in the same breath. It is part of a trilogy, the first two instalments being shorts. The second instalment, “The Red Door,” screened in 2014 in Rotterdam.

Open Doors grants are funded by the Open Doors initiative in collaboration with the Municipality of Bellinzona and the Swiss fund for production support Visions Sud Est, also financed by the Swiss Foreign Ministry’s Agency for Development and Cooperation (SDC).

“Season of Dragonflies” (“Jhyalincha”), by Abinash Bikram Shah, Nepal   CNC  Prize worth Euros 8,000 ($8,800).

This first feature based on the filmmaker’s personal history will aim to provide a glimpse into the restlessness of Nepal, especially the struggle of women, caught between age-old traditions and modern day aspirations while also having to contend with poverty and disasters. The directors’ previous works include the short “I Am Happy,” which played at Busan.

Earlier this year Locarno announced that as part of their “research remit” to explore cinematographies that are relatively or totally unknown – but with great potential – they would be focussing over the next three years on eight countries in South Asia: Afghanistan, Bangladesh, Bhutan, Maldives, Myanmar, Nepal, Pakistan and Sri Lanka.

The Open Doors Screenings program continues until the end of the Locarno fest on August 13.


LOCARNO — Munich-based Beta Cinema is closing early sales on “Vincent and the End of the World,” a Locarno Piazza Grande world premiere reuniting the team behind “Moscow, Belgium” which swept Cannes Critics’ Week in 2008 taking all three of its prizes.

As on “Moscow, Belgium,” Belgian Christophe Van Rompaey once more directs from a screenplay by Jean-Claude van Rijckeghem who also produces with Dries Phlypo, at A Private View, “Vincent’s” lead production house.

Barbara Sarafian (“Bullhead,” “8 1/2 Women”), star of “Moscow, Belgium” – who delivered in that film what Variety described as “knock-out perf” in a “working-class dramedy, in the tradition of Mike Leigh’s best early efforts” – once more has a lead role in “Vincent.”

In early business, Cineworx has acquired Swiss rights to “Vincent.” All French rights have been acquired by Ad Vitam, one of France’s most energetic arthouse/cross-over distributors whose releases this year range from fest winners such as Berlin best actor and actress winner “45 Years,” which gave Charlotte Rampling an Oscar nomination, to higher-profile French fare, such as Pascal Bonitzer’s “Tout de Suite Maintenant,” starring Isabelle Huppert.

Paradiso Filmed Entertainment is handling Benelux rights and plans a Belgium release on Aug. 31. Further deals, most particularly to Germany, are under negotiations, said Thorsten Ritter, Beta Cinema’s EVP.

“Moscow, Belgium” turned on a battling mother of three attempting to resolve her chaotic love-life while bringing up her brood. “Vincent” shifts focus to adolescence in a coming-of-age tale or – for most of its going, a non coming-of-age tale – centres on Vincent, who attempts to terrorise his family into reducing its carbon footprint by suicide attempts.

Vincent persuades his flamboyant ditzy aunt Nikki, herself stuck in an eternal adolescence, to take him to Paris. Nikki thinks she can bring him out of himself. But Vincent has his own agenda and plans a drastic protest action in Paris.

Alexandra Lamay – star of Francois Ozon’s “Ricky” and French comedy hits, such as “Back to Mom’s,” which earned $12 million from a June 1 bow in France – plays Nikki.

“A comedy about suicide,” said Van Rompaey, “Vincent and the End of the World” is also a “dramatic story with a funny edge and deals with both life’s joys and its disappointments.” He added that its base is “a feeling of unease, restlessness, lack of vision and future almost inherent in living and growing up in the world today.”


LIMA – Peru’s Daniel and Diego Vega, the filmmaking brothers behind hits “October” and “El Mudo” are shooting their next pic “La Bronca” entirely in Canada. Canada’s Nicolas Comeau of 1976 Productions, Colombia’s Daniel Garcia of Dia-Fragma and Miguel Valladares of Tondero Films in Peru are co-producing the family drama along with the Vega brothers’ Maretazo Cine.

Diego and Daniel Vega are also tapping coin valued at some $170,000 that they received last year from the Peruvian Ministry of Culture’s audiovisual division, which administers a $3 million annual fund.

Loosely based on Daniel Vega’s past experience, “La Bronca” (provisionally translated to “The Clash”) takes place during six months when a son visits his estranged father in Canada. Story is set in 1992, a time of political upheaval in Peru when its then president Alberto Fujimori staged an ‘auto-coup,’ dissolving the national congress and judiciary in order to assume full legislative and judicial powers. Politics is not at all front-and-center in the story but it takes place within the context of the diaspora of Peruvians during that era, said Daniel Vega.

“This is more about an upper middle-class family, living in their bubble,” he said. Given its mainly Peruvian cast, this will be the first truly Peruvian film shot in Canada. Dialogue will be in Spanish and English.

Budgeted between $1 million to $1.5 million, principal photography for “La Bronca” is slated for early 2017. “We’re going to need sun and snow so we might have to shoot in different seasons,” said Diego Vega, who is also penning a four-episode TV series for Spain’s Movistar Plus.

The brothers jointly penned “Guerrero,” the upcoming biopic from Tondero Films about the life of Paolo Guerrero, Peru’s leading soccer player, now playing for Rio’s Flamengo Club.


Netflix is launching four documentary films at the 2016 Toronto International Film Festival, including one about Amanda Knox, the American woman who spent nearly four years in an Italian prison for the murder of a roommate before she was acquitted.

The titles are: “Amanda Knox,” from directors Rod Blackhurst (“Here Alone”) and Brian McGinn (“Chef’s Table”) and producers Mette Heide and Stephen Robert Morse; Werner Herzog and Clive Oppenheimer’s “Into the Inferno,” about the relationship between humans and volcanoes; “The Ivory Game,” a film about the illegal ivory trade in Africa from directors Richard Ladkani and Kief Davidson and executive producer Leonardo DiCaprio; and “The White Helmets,” about three volunteer rescue workers helping civilians in the Syrian conflict in early 2016, from director Orlando von Einsiedel and producer Joanna Natasegara, the filmmaking team behind “Virunga” (which Netflix acquired in 2014). This year’s TIFF runs Sept. 8-18.

The four documentaries are set to hit Netflix’s streaming service worldwide this fall with “The White Helmets” launching Sept. 16, followed by “Amanda Knox” (Sept. 30), “Into the Inferno” (Oct. 28) and “The Ivory Game” (Nov. 4).

“The breadth of our slate at the Toronto International Film Festival speaks to Netflix’s continued celebration of diverse voices and styles in the world of nonfiction,” Lisa Nishimura, Netflix VP of original documentary programming, said in a statement. “We are committed to pushing the boundaries of the documentary form, and our films screening at Toronto represent both emerging talent and iconic filmmakers during a thrilling time for documentaries.”

Netflix previously announced that Ava DuVernay’s “The 13th,” about the history of racial injustice in the U.S., will be the first nonfiction film to premiere opening night of the New York Film Festival; it’s slated to debut on Netflix on Oct. 7. Among other documentary titles in Netflix’s queue are two Sundance acquisitions, Bonni Cohen and Jon Shenk’s “Audrie & Daisy,” which examines two teen assault cases tried in the new public square of shame on social media, and Kevin Macdonald’s “Sky Ladder: The Art of Cai Guo-Qiang,” a documentary of the titular fireworks artist. Those are slated for 2016 release along with winner of the Tribeca Best Documentary Short, “Extremis,” exploring the decisions faced in urgent end-of-life cases.

Two Netflix documentaries — “What Happened, Miss Simone?” and “Winter on Fire” — were nominated for 2016 Academy Awards, and the streamer’s first original documentary acquisition, “The Square,” earned an Oscar nom in 2013.

Pictured above: Amanda Knox


China’s Tencent and Hong Kong’s PCCW are among a group of new investors said to be providing financing to Hollywood studio STX Entertainment.

According to reports by the U.K.’s Sky News, STX is currently seeking a round of new finance. Investors may be announced this week.

A Tencent spokesman declined to comment.

Tencent is China’s largest social media conglomerate with massive positions that make it the leader in chat apps, online music, and games. Last week it emerged on the winning side in the ride hailing business after Uber decided to stop competing in China and instead merge with Didi Chuxing, in which Tencent and Alibaba are major investors.

PCCW emerged from the rump of the former cable and wireless company, and has been Hong Kong’s dominant fixed line phone supplier and its leading broadband internet provider. That position allowed it to become a major player in IPTV in Hong Kong. Latterly it is rolling out its OTT video streaming business Viu around the Asia region.

STX has other Chinese connections. It currently counts Hony Capital among its investors, and it has a deal with China’s Huayi Brothers to produce 18 movies together.

The company was founded by Robert Simonds and Bill McGlashan with a remit to produce movies that differ from the major studios’ superhero franchises.


Nostalgia for the 1977 original movie dominated at Disney’s world premiere of “Pete’s Dragon” at the El Capitan Theatre in Hollywood.

“It was one of my favorite movies growing up as a kid,” Bryce Dallas Howard said on the green carpet. “We got to shoot it in New Zealand. I went to New Zealand when I was five with my parents because my dad (Ron Howard) was shooting a movie called ‘Willow’ and to be able to return 30 year later to shoot a movie that I loved as a kid with my young family — it’s kind of one of those full circle moments.”

Director David Lowery, who began working on the live action-CGI film in 2013, allowed that he was stunned at the outcome.

“Bryce Dallas Howard was my first choice for Grace,” he mused. “The film is shockingly close to my original vision, which hardly ever happens. It really came together exactly as we envisioned and stayed true to its roots.”

Lowery also noted that the audience was full of children. “I made this for me when I was seven years old so I hope there’s a 7-year-old version of me in the audience,” he added.

Oona Laurence, who plays 10-year-old character Natalie in “Pete’s Dragon,” said she was pleased about her scenes with co-star Oakes Fegley, who plays the titular Pete. “My character helps him understand what the world is like,” she said.

Eric Saindon and Mike Cozens, Weta Digital’s VFX supervisors on the film, said that it took 18 months to create Elliot the Dragon. “The biggest challenge for us is that he had to look goofy and believable,” Cozens added.