Eunice Huthart, a former body double for Angelina Jolie, has become the first person to file a phone-hacking lawsuit against News Corp. in the U.S. Huthart, a British national whose most recent credit is as stunt coordinator on Disney’s upcoming Jolie-starrer Maleficent, filed a civil complaint (read it here) against News Corp, and its UK press arm News International, in federal court on June 13 alleging right to privacy violations. Those include “intrusion into, interception of and interference with” voicemail messages left on her phone while she was working as a double for Jolie in the U.S. in 2005. The suit seeks damages for violations of federal and California laws. READ MORE »
EXCLUSIVE: Universal Pictures, Walden Media and director Angelina Jolie are getting closer to the start line on Unbroken, the incredible story of Louis Zamperini based on Laura Hillenbrand’s best-selling book. I’m hearing that three young actors — Alexander Dreymon (Blood Ransom), 300: Rise Of An Empire co-star Jack O’Connell and Chronicle and The Amazing Spider-Man 2 star Dane DeHaan — are screen-testing to play Zamperini as a young man. I don’t know that Jolie won’t widen her short list — she has met with reams of young actors already to get to this point — but I do believe this has the potential to be a career-making job. The actor will play Zamperini from the time he was a wunderkind member of the American track team that competed in the 1936 Berlin Olympics, to his survival of a harrowing plane crash on the water, to becoming a POW in a Japanese prison camp during WWII. Zamperini, who has shown an iron will in dealing with adversity, turned 96 in January and the emergence of this short list is good news because it means he hopefully will get to see the film. It is one that Universal first developed in 1956 when it was to star Tony Curtis, right after Spartacus. Matthew Baer and Erwin Stoff are producing and Mick Garris is exec producer.
Jolie signed on last December to make this her second film as director after In The Land Of Blood And Honey. She had campaigned hard for the job against other directors who sparked to Hillenbrand’s book. I spoke to her at the time and she was completely dialed into the story and how she wanted to tell it. Since then, Joel and Ethan Coen rewrote a script that had been penned by Gladiator and Les Miserables co-writer William Nicholson, who rewrote an earlier draft by Richard LaGravanese, The book has now been on The New York Times Bestseller List for two and a half years, which is the fifth-longest a book has stayed there.
ASC Awards: ‘Skyfall’s Roger Deakins Wins Feature Film Honor; TV Winners Include ‘Great Expectations’, ‘Game Of Thrones’, ‘Wilfred’, ‘Hunted’
Skyfall director of photography Roger Deakins won the Feature Film honor tonight at the 27th annual American Society of Cinematographers Awards, two years after he won the society’s Lifetime Achievement Award. Deakins, who didn’t attend because he is working on the Hugh Jackman-Jake Gyllenhaal movie Prisoners, now becomes a frontrunner for the Oscar in the category, after Life Of Pi‘s director of photography Claudio Miranda won the BAFTA earlier in the day in London. (The ASC Awards noms pretty much mirror the Oscar nominees this year, with Deakins, Miranda, Anna Karenina’s Seamus McGarvery and Lincoln’s Janusz Kaminski nominated by both organizations. The only difference: Les Miserables’ Danny Cohen was up for an ASC Award and not an Oscar, and Django Unchained’s Robert Richardson is up for an Oscar but not an ASC.)
It was Deakins’ third win and 11th nomination for an ASC Award, having won previously for Shawshank Redemption and The Man Who Wasn’t There. His wife James accepted the award onstage at the ceremony, held at the Grand Ballroom at Hollywood & Highland. She read a note he had prepared: “I share this award with everyone who worked on the production…filmmaking is truly a collaborative privilege.”
Deakins’ win for the James Bond pic capped a night in which Angelina Jolie made a surprise appearance to introduce the ASC Lifetime Achievement Award recipient Dean Semler, her DP on her 2011 directorial debut In The Land Of Blood And Honey and on Disney’s Maleficent, in which she stars. “I called him up to help me on a film I was directing, not thinking I’d get him”, she said in her intro. ‘Who can shoot it like you can?’ I asked. He said me, and did it. After the call, I’m not embarrassed to say I danced around the room”. Said Semler: “Angie, you’re amazing and we’re so glad you’re here …. This award has to be the greatest any cinematographer can reach for”.
EXCLUSIVE: Universal Pictures and Walden Media are in final negotiations with Angelina Jolie to direct Unbroken, the unbelievable story of Olympian-turned-WWII POW Louis Zamperini. The project, which Universal has developed for going on 55 years, is closer than ever to becoming a reality. Matthew Baer and Erwin Stoff are producing and Mick Garris is exec producer.
For Jolie, this will mark her second film as director after she made her debut on In The Land Of Blood And Honey. This will be her first directing outing on a major studio film. It’s easy to imagine that the world’s biggest female star gets whatever she wants, but I’m told that she campaigned hard for the film against a number of other directors. Universal execs were very impressed with her sophisticated treatment of difficult subject matter. Her detailed take on Zamperini won her this job.
“In her life and in her work, Angelina has embraced stories and causes involving great struggle and triumph over tremendous odds and the basic human condition,” Adam Fogelson and Donna Langley said in a statement. “She has a real ability to illustrate the strength in human spirit which will be essential in telling Lou’s story of survival and great heroism.”
The film has a new script draft by Gladiator and Les Miserables co-writer William Nicholson, who rewrote an earlier draft by Richard LaGravanese. The script is based on Unbroken: A World War II Story of Survival, Resilience and Redemption, the book by Seabiscuit author Laura Hillenbrand which has been on The New York Times bestseller list for over 108 straight weeks.
The Oscar winning actress denied in the strongest legal terms that she took key elements of a book on the Bosnian War for her 2011 film In The Land of Blood and Honey. “Defendants independently created the Motion Picture without any influence of Plaintiff’s Subject Work,” said Jolie, along with fellow defendants GK Films and distributor Film District, in a 13-page response (read it here) filed yesterday. “Defendants further deny that the protectible elements of the Motion Picture and the book entitled “The Soul Shattering” (“Subject Work”) are legally or substantially similar under controlling Ninth Circuit law,” the response also says. James J. Braddock sued Jolie and the others, on December 2, 2011 for copyright infringement. Filing his suit three weeks before the film came out in America on December 23, 2011, the author accused Jolie and the companies of copying key elements of his 2007 book for In The Land of Blood and Honey.
EXCLUSIVE: You know that the gazillion-selling steamy novel trilogy Fifty Shades Of Grey has reached outlandish proportions when The New York Post devotes today’s front cover to the idea that women are stocking …
Monica Corcoran Harel is contributing to Deadline’s Oscar coverage.
Unlike monotonous years past when a color or style prevailed, tonight’s Academy Awards Red Carpet teemed with extremes. Actresses either went strapless and exposed chiseled clavicles or opted for demure long sleeves. Some coerced their hair into crazy Cinnabon updos, while others played it loose with windswept, just-got-lucky-in-the-limo waves. All in all, it was a good night for fashion. Meryl Streep channeled a female Oscar in gold lame Lanvin, Rooney Mara didn’t wear black and Sacha Baron Cohen claimed to be wearing “Galliano with socks from K-Mart.”
When it came to color, a majority went white — a hue the costume designer Edith Head once said “can be gay or somber.” In the case of 20-year-old Shailene Woodley in a mod Valentino Couture gown, the look was a bit matronly and Babe Paley circa 1960 for such a dewy star. Gwyneth Paltrow, whose bright white Tom Ford column gown with an architectural duster stood out like spilled milk, looked bright and awake. Rooney Mara, however, seemed more like a Tim Burton Goth bride in her Givenchy dress with a bondage-style back and transparent train.
Red, too, made a strong showing thanks to Natalie Portman, Emma Stone and Michelle Williams. Portman’s vintage polka-dotted Christian Dior gown was charming, though the hem was slightly wrinkled. (Shouldn’t limos come equipped with steamers?) Stone’s scarlet Giambattista Valli — embellished with a toaster-sized bow on the left shoulder — had critics hissing that it was too redolent of the Balenciaga dress Nicole Kidman wore to the 2007 Oscars. Oh, stop. Doesn’t Hollywood make the same movies every year? Williams, ever the gamine, looked great in that coral Louis Vuitton with a sweet peplum waist that gave her some curves.
Monica Corcoran is contributing to Deadline’s Golden Globe coverage.
It wasn’t the best of dresses or the worst of dresses. Rather, this year’s red carpet at the Golden Globes felt more like a Baltimore debutante ball than a ribald Hollywood awards show. Updos didn’t crest like tsunamis, diamonds seemed to be hibernating, and the only cleavage worth ogling came compliments of Sofia Vergara and Salma Hayek.
If nothing else, a nude dress contrasts well with the red carpet. But a bevy of blush gowns hardly induces fashion envy. Charlize Theron, Angelina Jolie, Kristen Wiig and Kate Beckinsale all chose the tame epidermis hue, though Jolie’s slash of crimson at the neckline of her Atelier Versace gown — like a gash to her clavicle — certainly added Shakespearean drama. Purple, too, made a popular showing among nominees like Octavia Spencer, Shailene Woodley, Julianna Margulies and Emma Stone. (The royal color has been heralded as the “it” shade for spring.) Metallics, an awards-show favorite and a shortcut to glamour, turned up on Diane Lane (pictured right), Madonna, Lea Michele and Nicole Richie. Lane’s gilded Reem Acra aced best dress; Michele’s risque molten silver Marchesa didn’t work because the young actress tried to outshine it. Shades of blue — from navy to cerulean — also proved a popular choice. Jodie Foster, bedecked in a beaded teal Giorgio Armani gown with a strapless corset and a cinched waist, looked feminine and unflappable.
As for skin, there were few plunging necklines. Sigh. Jolie, Jessica Biel and Viola Davis relied on center or side-slits to bare a bit of gam, and it was much appreciated. Rooney Mara’s tough-girl-next-door black Nina Ricci offered glimpses of her skim milk torso, with its bondage-like chiffon cut outs. Glee’s Dianna Agron and Michele competed for squint-worthy exhibitionism with their laser-cut gowns, but neither quickened my pulse. When it came to jewels, oversized earrings stole the show. FYI: If the unemployment rate hovers at 8.5%, stars tend to wisely eschew the quail egg-sized diamonds and blinding ruby chokers. Then, there’s Madonna. The best original song in a motion picture winner wore $2.5 million worth of Neil Lane gems, including half a dozen diamond and platinum cuff bracelets. Material girl, indeed.
In the end, I say, “all hail Tilda Swinton.” The statuesque fashion-forward icon — with the arm span of a yeti — didn’t disappoint in an ice blue Haider Ackerman skirt suit with strong, sharp shoulders. The red carpet always seems to part for Swinton and she deserves it.
Here’s the list of who wore who: