Actors Finn Wittrock and Victoria Pedretti have joined the cast of filmmaker Ava DuVernay’s next feature film “Caste”.

Actors Finn Wittrock and Victoria Pedretti have joined the cast of filmmaker Ava DuVernay’s next feature film “Caste”. Based on author Isabel Wilkerson’s non-fiction book “Caste: The Origins of Our Discontents”, the movie will feature Aunjanue Ellis in the lead role along with Vera Farmiga, Niecy Nash-Betts, Nick Offerman, Jon Bernthal, Audra McDonald and Connie Nielsen. According to entertainment news outlet Variety, Wittrock and Pedretti joined the cast along with Blair Underwood, Isha Blaaker, Leonardo Nam, Donna Mills and Emily Yancy.

The independent film, financed by J4A, has been shot in Savannah, US, and Germany capital Berlin with principal photography currently continuing in Delhi, India. DuVernay, known for movies such as “Selma”, “A Wrinkle in Time” and Netflix series “When They See Us”, has also adapted the script from Wilkerson’s book, which was published in 2020. Described in The New York Times as “an instant American classic and almost certainly the keynote nonfiction book of the American century thus far”, the book — and subsequently DuVernay’s film — examines the system of hierarchy that has shaped America. DuVernay produces the project alongside frequent collaborator Paul Garnes of Array Filmworks.

Finn Wittrock is no longer attached to the HBO Max Series “Green Lantern” Finn Wittrock and Jeremy Irvine, who were cast as Guy Gardner and Alan Scott, respectively, are not attached to ‘GREEN LANTERN’ anymore.

The hope is for them to re-join the project once the new scripts are done and filming is ready to commence.

This information has been confirmed by the actor for Finn-Wittrock.com.

Playwright Danny Robins’ 2:22 – A Ghost Story will have its U.S. premiere November 4, 2022 (with previews starting October 29th) at the Center Theater Group’s Ahmanson. Matthew Dunster directs the cast of four: Constance Wu, Anna Camp, Adam Rothenberg, and Finn Wittrock. I persuaded Finn to chat about 2:22, as well as reminisce on some of his career highlights.

Thank you for taking the time for this interview, Finn!

What first attracted you to become involved with 2:22 – A Ghost Story?

The outside factors were the first draw: doing a play, in L.A., at the Ahmanson, with Constance Wu. Three big perks that got me intrigued. Then I read the play. It was a true page turner that I couldn’t put down, and though I can’t say anything about it for fear of spoiling, when I finished, I was almost breathless and thought, “If the experience of the audience is anything like it just was to read, I have to be a part of this thing.”

Had you worked with any of 2:22’s cast before?

Nope! They’ve all been a dream so far.

What would your three-line pitch of 2:22 be?

Here’s a go. “Four people spend the night debating the reality of ghosts and the supernatural. Some believe, some don’t, some are on the fence. And then something happens that makes them all question everything they thought they knew. (No, I can’t tell you what).”

What qualities of Sam (before he married Jenny) would you submit on a dating website?

I’ve never been on a dating website, and I don’t think Sam has either. But he is definitely confident. I think that would be front and center in his bio. He is cerebral, he loves intellectual debate. He loves nice things. He is opinionated on almost everything but doesn’t judge people who disagree with him; in fact, he welcomes disagreement. He loves to argue for fun. He has a good tenured professor job. He’s stable. He loves kids. Wants one of his own. Likes to have fun but also get a good night’s sleep. Likes to party but never too hard. The right thing, in the right place, at the right time…

What character flaws would you definitely omit?

Can talk without listening. Can make harsh comments without realizing. Can make people feel small with the turn of a well-crafted quip. Also, is not a great help domestically.

You spent your teens in Los Angeles. What was the first Center Theatre Group production that you saw?

The Music Center has always been a special place to me and going to CTG has always been an event. I graduated high school at the Dorothy Chandler Pavilion. I know I saw the tour of Death of a Salesman with Brian Dennehy when I was in middle school. I’m pretty sure that was in the Ahmanson. And the first play at the Taper that I remember seeing was Top Dog/Underdog. It was astounding.

After seeing those productions, did you ever think you would be acting on one of their stages?

It’s really has always been a dream. I’ve come close to doing a play here, but it’s never quite worked out. At last, the dream has come true.

As a youth, you grew up at the Shakespeare & Company Theatre where your father, actor Peter L. Wittrock, Sr. worked. What acting advice did your father give you when you were starting out?

My dad has always been a huge mentor, fan, supporter, critic, all of it. It wasn’t so much advice he gave as me watching him, mirroring him, observing him, learning from him. Side note – my dad studied under the voice guru Kristin Linklater, as did Natsuko Ohamo, who I’ve known since I was born and who turns out to be voice coaching on 2:22. So it remains a small world.

Has your two years on All My Children helped you in speed learning your scripts?

Yes actually. Memory is a muscle, and it was well toned while I was doing the soap opera. Even though that was some time ago, I do feel the memory skills were well sharpened during that time. Had to be – so many words to learn by tomorrow at 7 am!

In 2012, you played Happy Loman to Philip Seymour Hoffman’s Willy Loman on Broadway in Death of A Salesman. Would you share some words of wisdom Philip gave you?

It’s hard to put into words what Phil gave me. More than anything it was a sense that acting is important, in some fundamental way; it’s not frivolous, it’s something we need to survive as humans. To never let yourself off the hook with the understanding of that importance; to always go deeper, get more specific, work harder. It was less advice he gave than the example he showed by just doing his work, day in day out, with such exhaustive thoroughness.

In 2017, you returned to Broadway in The Glass Menagerie with Sally Field and Joe Mantello. Can you tell us of some of the lighter moments off-stage of this heavy drama?

There’s a famous restaurant in Times Square called Sardi’s. If you are reading BroadwayWorld you probably know this. I’m not saying Sardi’s was falling off or anything, but at least around this time, 2017, at least on a Thursday night after a show, it was pretty quiet. Joe Mantello started this tradition of going to Sardi’s after a Thursday night show. Thursday is a good night for most theater actors because you probably don’t have a matinee on Friday and so don’t have to worry about work until the evening. The little Glass Menagerie cast started going there and inviting friends along. It started out fun and mellow, a quiet night out. By the end of our run, the word had gotten around and I swear almost every Broadway show was partying at Sardi’s on Thursday night. Joe had made it an event. Thursdays became a wild night and whether it was true or not our cast of Glass Menagerie took all the credit. (Momentarily forgetting perhaps that Sardi’s has been having post-show cast parties since the 1920’s).

Your busy television and film career is sprinkled with many stints on the Boards. What is it that keeps you pursuing your stage work when your television and film commitments abound?

For me it is all about the first reading of a play, when I’m alone reading it at my desk. Because most likely that is the closest I will ever get to what a first-time audience will experience. And like I said, this play was one of the most exciting new plays I had ever read. So, I said yes, I want to do it, let all the other stuff figure itself out. It’s the only way to do things, in my short experience.

What’s in the near future for Finn Wittrock?

I am soon to shoot Green Lantern on HBO Max. I’m dreadfully excited for it. Besides that, time will tell!

Thank you again, Finn! I look forward to being scared in 2:22 – A Ghost Story.

Written by Danny Robins and directed by Matthew Dunster, the play will begin previews Oct. 29 and run through Dec. 4 following an award-winning run in London.

The nonprofit theater company has set Constance Wu, Finn Wittrock, Anna Camp and Adam Rothenberg to star in 2:22 — A Ghost Story, a four-person play described as an “intriguing, funny and scary supernatural thriller.” Previews at CTG’s Ahmanson Theatre begin Oct. 29 with an official opening set for Nov. 4. The play will then run through Dec. 4.

Written by Danny Robins and directed by Matthew Dunster, A Ghost Story follows Jenny (Wu) who believes her new home is haunted while her husband Sam (Wittrock) isn’t having any of it. They argue with their first dinner guests, an old friend Lauren (Camp) and her new partner Ben (Rothenberg), and after a conversation about beliefs and skepticism, the foursome make a pact to stay up until 2:22 a.m. to know for sure.

The production marks Ahmanson stage debuts for Wu, Wittrock, Rothenberg and Camp. Rothenberg previously starred in Center Theatre Group’s Burn This at the Mark Taper Forum in 2011. Tickets go on sale Oct. 10.

2:22 – A Ghost Story is currently running in London’s West End at the Criterion Theatre through Jan. 8 with a cast including Tamsin Carroll, Felix Scott, Laura Whitmore and Matt Willis. It’s received rave reviews including one from The Guardian calling it “a slick, chilling romp of a play.” The play won all three WhatsOnStage Awards it was nominated for including best new play.

2:22 – A Ghost Story is produced by special arrangement with Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon. The creative team includes Anna Fleischle (scenic design), Cindy Lin (costume design), Lucy Carter (lighting design), Sean Gleason (lighting design recreation), Ian Dickinson for Autograph (sound design), Chris Fisher (illusions), Will Houstoun (illusion recreation), David Caparelliotis and Joe Gery for Caparelliotis Casting (casting), Gabriel Vega Weissman (associate director), Edgar Landa (fight director), Natsuko Ohama (vocal coach) and David S. Franklin (production stage manager).

Coming soon to Netflix is another high-profile thriller, this time starring by Finn Wittrock and produced by Mila Kunis. Luckiest Girl Alive is an adaptation of the best-selling novel of the same name by author Jessica Knoll, and was recently announced to be coming to Netflix in October 2022. Here’s what we know so far about Luckiest Girl Alive on Netflix.

Netflix’s Luckiest Girl Alive is directed by Mike Barker who is known for directing and executive producing on Hulu’s The Handmaid’s Tale and took part in directing the Netflix adaptation of Neil Gaiman’s The Sandman. Barker also worked on such series as Fargo, Outlander, and Broadchurch.

With the release of Netflix’s 2022 film slate, we can now confirm that Luckiest Girl Alive will be coming to Netflix on Friday, October 7th, 2022. Prior to its release on Netflix, Luckiest Girl Alive will be available in select theatres from September 30th, 2022.

The shockwaves of Batgirl being scrapped after being completed are still being felt, and for a minute there, it felt like there was no DC project that was actively safe from the new management at WB Discovery. Well, at least for now, it seems like the future plans for DC may not be quite as disruptive as initially predicted, at least for some already in-the-works projects.

While rumors swirl that DC Films’ President Walter Hamada almost quit over Batgirl, and will likely leave after Black Adam, some old projects appear to be safe under the new regime, for now.

Those include Black Canary, which is Jurnee Smollett’s solo feature for the character first introduced in Harley Quinn’s Birds of Prey movie, making her technically part of the DCEU tracing its roots back to the original Snyder Man of Steel/Batman V Superman/Justice League trilogy. WB has confirmed that the HBO Max project is still in the works and that has not changed even in this post-Batgirl landscape.

Also still safe, apparently, is the long-gestating Green Lantern project from head of the almost-dead Arrowverse, Greg Berlanti, though it’s unclear what universe it may or may not be a part of when it arrives. Green Lantern recently cast Finn Wittrock and Jeremy Irvine as Guy Gardner and Alan Scott respectively. This has drawn some measure of controversy given that we already did a Hal Jordan Green Lantern with Ryan Reynolds, and this is two more white guy iterations of the character, when John Stewart has yet to be realized, and was only teased in the Arrowverse and cut Snyder Justice League sequences.

Berlanti is “taking the time with the effects-heavy show in order to get it right,” which is probably a good idea, considering Berlanti also co-wrote the not-good Reynolds Green Lantern in 2011, and the effects were part of why that was considered a poor showing (and of course, the script).

HBO Max’s Green Lantern series is finally set to enter production as it will reportedly begin filming late this year. The series stars Finn Wittrock and Jeremy Irvine.

Green Lantern, DC’s iconic superhero who draws his power from a magical ring, is coming to HBO Max in a new live-action series. Writers Greg Berlanti, Marc Guggenheim, and Seth Grahame-Smith will tell the story of several generations of men who take on the mantle, beginning with Alan Scott in 1941, reimagined here as a closeted FBI agent. Vickie Thomas Casting has already brought on Jeremy Irvine (“War Horse”) as Alan; Finn Wittrock (“American Horror Story”) will play Guy Gardner, a 1980s version of the hero. Production on the series is set to start later this year in Los Angeles.