
EXCLUSIVE: While Precious director Lee Daniels continues to wait for financing to mobilize on the Civil Rights drama Selma, he has closed a deal with Sony Pictures Entertainment to rewrite and direct The Butler. The Laura Ziskin-produced drama is based on Eugene Allen. A servant in the White House over 34 years, Allen watched the eight presidents he worked for wrestle with and finally stem the tide of segregation. The film is based on a series of articles written on Butler by Wil Haygood. After Haygood’s first article, the long-retired Allen was invited to be a guest at the inauguration of the country’s first African American president, Barack Obama, bringing his experience full circle. The first draft was written by Recount‘s Danny Strong.
Daniels will begin re-writing immediately and I’m told the picture could be ready to start before year’s end–Daniels has gone as far as approach Denzel Washington about the title role–if Selma doesn’t finally get its funding together quickly. The film, about Lyndon Johnson, Martin Luther King and the marches that led to civil rights reform, might finally be verging on happening. Deals aren’t closed, but it looks like Harvey Weinstein’s The Weinstein Company will commit $8 million in funding for domestic distribution, with Pathe matching that amount and taking foreign. Daniels’ WME reps have lined up an equity investor–I’ve heard Skyline Pictures–to provide the remaining funds for a budget that is $18 million, after location rebates.
While Precious grossed a surprising $63 million worldwide and got six Oscar nominations that included Best Director, Daniels has been exasperated that his momentum and the Selma script and cast hasn’t yet made the film real. Daniels, an emotional guy by nature, was ready to swear off the film earlier this summer. His frustration is understandable. Armed with the Paul Webb script, Daniels lined up a terrific cast–Hugh Jackman, Liam Neeson, David Oyelowo, Ray Winstone, Robert De Niro, Cedric the Entertainer are among those who’ve circled-and planned to start production earlier this year. Actors agreed to work cheap and left schedules open. Jackman even gained 30 pounds to play Jim Clark, a sheriffs who arrested Martin Luther King. But the financing never solidified, and Jackman had to go lose the weight to star in Real Steel. Most of that cast is hanging in, and the producers–Slumdog Millionaire‘s Christian Colson and Plan B’s Brad Pitt, Dede Gardner and Jeremy Kleiner–are prepared enough that production could still happen in the fall. But if those funding deals don’t close in the next week or two, it might not be possible.


Boo Hoo Lee Daniels. The guy is a crook who has owed me $30, 000 for 3 years for a script I delivered him which he has never paid for. My lovely union has put him on their ‘Strike List’ which ready for this? DOES NOTHING but block him if he ever wishes – AS A PRODUCER – to hire a WGA member. Well, with an Oscar nomination for directing, he never really has to be a producer again.
POOR, crooked Lee Daniels. He has to wait a little longer to make his movie. I lost my health insurance.
P.S. Apparently, I am not the only one he’s stiffed.
Nice story, but fails to mention danny strong’s draft is absolutely brilliant
Is it the job of a news story to determine whether a script is “brilliant?”
I thought Strong’s draft was long and pedestrian. Nothing brilliant about it.
Once again a quintessentially African American story scripted by a white writer. Has there ever been a story that was so suited to the skills, the insight of a black writer, a black butler for 34 years? I don’t think so. Did Laura interview any black writers. I doubt it.
And don’t try to sell Lee as a writer. He’s not a writer. He thinks he is, but screenwriting is not a hobby. ps to Lee, you’re not Orson Welles.
No offense to Danny Strong, probably a wonderful person and a great golfer, but why is that African American screenwriters aren’t allowed to write their own stories and NEVER allowed to write white stories. Which means that if Tyler Perry won’t hire you, you’re shit out of luck.
PS Selma written by a white British writer. Black writers are 0-8 on civil rights, african american projects, king projects.
Hollywood, keeping artistic segregation alive!
Honest Abe, you’re right. Sad but true.
AMEN to that…you are DEAD ON POINT!! It goes even further than that in my opinion, when for example you have a 40+ year old jewish woman writing the script to Step Up! As if she knows ANYTHING about hip-hop or urban dance.
Trying to break thru to these folks with the money is no use…they are going to do whatever they want to do…and this is why Tyler Perry does his own thing in Atlanta and does not bother with the Studio system.
I second that. The thought probably never crossed her mind to find a black writer. Ah, to be the white man.
KP
“Lawdy-lawd, can’t no Jews be writin’ for no black folk!!!”
I see you cry-babies at every forum sponsored by the Guilds or Unions. Then you get up during the Q&A and say something amazingly ignorant and stupid and prejudiced. As if the only thing keeping you out of the Industry is your race.
Next time youre tempted to ruin one of these events, stay home and work on your own script. Form a theater group. Make short films to post on YouTube. Create work that can be appreciated by all races and ethnicities.
Most importantly, pull your head out of your ass. That will be your first step toward becoming a true artist.
If this is true, then a green ogre is the only truly capable being to write “Shrek,” only a superhero can write “Batman Begins” or “Spiderman,” only a white double agent can write a Bond movie. Really–are we still having this conversation? There’s a black man in the White House, and yes, racism, sexism and homophobia still exist. That doesn’t mean one human being cannot capture on paper the emotional experience of another well enough for a black actor to bring the character and story to life.
I think you’re missing the point.
Blacks in the film business are obviously feeling left out. For example, has anyone else noticed that Will Smith’s leading women went from dark-brown (Regina King in “Enemy of the State”, 1998) to light-brown/Latina (Eva Mendes in “Hitch”, 2005) to white (Charlize Theron in “Hancock” 2008)? In other words, black actresses can’t even get work playing opposite black actors!!!
Angelina Jolie played the lead in Wanted when that character in the comic book was obviously BLACK.
The opportunities are few for non-whites partially due to the prejudices of the studio heads (Halle Berry was told she couldn’t play a park ranger because there are no black park rangers. Really?) and partially due to the dearth of genuine black talent.
Let’s stop pretending that these prejudices don’t dictate the race of the people involved in American film projects.
Not the job of a news story but this clearly was this a news story or lee daniels pr plant? And if ‘long and pedestrian’ gets denzel washington to star in my movie, I’m all for it.
Your post is ignorant, close-minded and foolish. Writing is so simply evaluated — either it’s on the page or it isn’t. I hire writers for TV all the time. The ONLY time color comes into play is when you are told to hire someone only BECAUSE they are a minority, even if their work isn’t right for your project. Claiming that whites can’t or shouldn’t write black stories, or should be considered after white writers, is such a “part of the problem” attitude. Grow up, stop complaining and judge people not by the color of their skin but by the content of their character arcs.
It is part of the problem where in the history of Hollywood that you could not name one black writer as prolific and in demand as Arin Sorkin. That is not because there is none its because they are not given the opportunities as others. Between new york and LA it is a sad reality
Lee Daniels is not a good writer. Neither is that horrible Michael Suscy. Directors who can’t write eat up great projects with beautiful scripts. Danny Strong is a terrific writer by the way. Writing is not white or black. I am just sorry that screenwriting has to be mangled by inept directors. And that execs like Ziskin don’t know better. She’s married to a great screenwriter. One would expect far more from Ziskin.
Why presume to judge Laura Ziskin and her choice of writers? At least she’s trying to get this film produced and working with a black director. Maybe there are no black writers who had the same take as the producer and even the director. I’m tired of people whining that someone didn’t do something the way it “should” be done when you aren’t getting it done yourself.
Danny is a great writer and I enjoyed Danny’s draft.
Every writer deserves an equal chance to become unequal.
Some say writers write what they know. That makes sense. However, I also believe good writers who do enough research can write a good script on ANY subject.
Danny did a great job and got an Emmy nom for RECOUNT. His qualifications for this were… He is a smart guy who did a lot of research… AND it helped that he is a good writer, too.
Don’t know much about Lee as a writer and while he is NOT the best director, his last movie caught lightning in a bottle so why not capitalize on it. Good for him! If his draft aint that good, than NO one will join his party.
GO DANNY GO!
And good luck Lee. I knew you as a smart manager with good taste, so
GO LEE GO!
Paul
Good luck to Lee. He’s very passionate about his work. I was looking froward to Selma but I know he will do a great job with The Butler. Despite having a Oscar nomination, it’s still hard to get movies made in Hollywood.
We get it Honest Abe, but the fact of the matter is that Paul Webb wrote an amazing script. I don’t remember reading in the article that African American writers “aren’t allowed” to write stories.
No one should mess around with the script. If I had the money, I would make this movie right now!
I’m still waiting to see “Fast Girls” get made.
Back when I was an assistant, it was 1 of 2 scripts of the 100 or so I read while working as an assistant to a director. She was white and wouldn’t touch it. Last I heard Bille Woodruff was going to direct it.
Sean
PS – The other one was “Good Will Hunting” She wouldn’t do that one eaither because the writers wanted to star in it…whoops.
In defense of my post: If you were doing a movie about Gloria Steinhem wouldn’t you first want to talk to a female writer. I would. Maybe, just maybe a woman would have some extra insight into this female icon. If I were doing Winston Churchill, wouldn’t I first talk to Brit writer just on the off chance he or she might have some extra insight into the character. At least I’d start there. If I were doing Ceasar Chavez, wouldn’t you at least want to talk to a Latino writer first. Just maybe, that Latino might have some insight, depth of feeling that an Anglo writer might not have. Now you may end up with the usual suspects. That’s fine, But at least TALK to someone who might have a special bond.
And for the previous poster and his blather about so-called color blindness, bullshit. David Milch said about ten years ago that Black writers weren’t good enough to write for him. Marta Kaufman, creator of Friends said that there were no black writers who had the “rhythm” to write Friends–as though Friends is Shakespeare.
That’s very colorblind. Black writers are not invited in to pitch white projects or black projects unless they are broad comedies. This is Hollywood Apartheid and it’s real.
Let me say again: If there is one story that should’ve been written by a Af. Am. writer, it’s the story of a black butler. If Af. American screenwriters aren’t in the talent pool for black butler stories, then we are persona non grata in Hollyweird.
Again, isn’t good writing just good writing? Have you even read the script HA?
_Thank_ you, Abe. To all you “why can’t white writers automatically get slotted to do African-American stories?” posters, a question: would a black writer ever be considered for “uber-British”/tony works like JONATHAN STRANGE AND MR. NORRELL, or Jane Austin novels, or even the James Bond series? Would they ever be considered to script prestige/Oscar-bait movies from works by non-white writers such as Ishiguro or Marquez? No? Why is that? If the answer is because “he/she doesn’t know enough about the culture,” then you are close to realizing how insulting this double-standard is for black writers–and why they get frustrating being locked out of projects it’s a good bet they have more inside knowledge about.
So you guys think Tyler Pperry treats writers well?
Unfortunately the truth is that Tyler Perry treats his crew poorly and doesn’t pay them well. But it’s hard to get jobs in Hollywood so those Blacks folks who do production work will take what they can get.
And for all of you White writers that can sit there and say something as stupid as “well isn’t good writing just good writing?” I wonder that you could be good writers at all. You are ignorant of the world you live in, the country you live in and the experiences of people in the Black community that have the same hopes and dreams that you do. And that case in point, is why there should not be White writers writing about the Black experience. Your ignorance points the up this brilliantly.
oh lee you cant write. and you and i both know denzel doesn’t like you. now what is this “story” a press release?
Lee is my cousin and i am very proud that he has accomplished his goals for himself. Lee, remember the family reunions at Duke park?