Anne Hathaway won an Oscar this year based in part on her performance of one song in Les Misérables. Now she’s starring in Song One which Worldview Entertainment has signed on to finance and produce. The drama is a feature debut for helmer Kate Barker-Froyland who will direct from her own screenplay about a young woman who strikes up a relationship with her ailing brother’s favorite musician. Newly-minted Lotus Entertainment is handling international sales. CAA has domestic. Worldview’s Christopher Woodrow and Molly Conners will produce alongside Hathaway’s Rachel Getting Married producers Marc Platt and Jonathan Demme, with Hathaway herself and Adam Shulman. Worldview’s Maria Cestone, Sarah Johnson Redlich and Hoyt David Morgan will executive produce. Principal photography starts May 29 in New York.
EXCLUSIVE: Anne Hathaway, Chloe Moretz and Sam Rockwell are all deep in negotiations to join Laggies. The Lynn Shelton-directed dark comedy chronicles perpetual adolescent and late-twentysomething Megan (Hathaway) who, freaked out by her boyfriend’s marriage proposal, pretends to go on a career retreat but actually hides out for a week with 16-year-old Annika (Moretz), her new best friend. Mark Webber is also in talks to join the film as Megan’s boyfriend. Rockwell will play an older character named Craig in the film, written by Andrea Seigel. Steve Golin, Alix Madigan and Rosalie Swedlin are producing for Anonymous Content. Madigan brought the project to Anonymous, developing it and bringing Shelton on board to direct before attaching any cast.
Monica Corcoran Harel is contributing to Deadline’s Oscar coverage.
Never mind “Who are you wearing?” When the economy of the Red Carpet at the Oscars could rival the GNP of Zanzibar, the real question tonight should be: “Why are you wearing…?”
In certain cases, the answer is elementary. Jennifer Lawrence showed up in a voluminous pink confection by Dior because she’s the face of the brand’s Miss Dior handbags. (People magazine even predicted that she might wear this gown almost two weeks beforehand.) In fact, the notoriously raw Lawrence — who admitted to Ryan Seacrest that she couldn’t define “haute couture” at the recent Golden Globes — didn’t say that her dress was designed by some dude in Paris. Rather, she pronounced the French term for high fashion with staged aplomb. Someone at Dior probably said, “cut the merde” to her or we won’t cut another check.
Charlize Theron, the face of the house’s J’Adore perfume since 2004, arrived tonight in a Dior Haute Couture gown too, natch. She reportedly makes about $2 million per year to hawk the fragrance — and presumably, wear the pretty dresses too. Tough job.
Of course, stars have long been loyal to designers. Audrey Hepburn favored the frothy frocks of Hubert de Givenchy for 40 years; the couturier even served as a pallbearer for the spritely actress in 1993. Bob Mackie once called Cher his “big Barbie doll” — especially when he outfitted her in a two-foot feathered headdress for the 1986 Oscars. But back in those days, the relationships crested more on affinity than currency.
Monica Corcoran Harel is an AwardsLine contributor
If all roads once led to Rome, then most fashion runways now merge into the Red Carpet. For the past decade or so, celebrity stylists have cherry-picked the fashion runways for the very …
Anthony D’Alessandro is Managing Editor of AwardsLine.
The Actors Stories speeches that set the stage for each Screen Actors Guild Awards ceremony—unofficially referred to as the “I’m An Actor” speeches—have become one of the most anticipated elements of the awards show. Here’s a look at some of the most memorable:
“My first memory of wanting to be an actor came when I saw my mother play the title role in Evita. I watched her die on stage and come back to life in time for the applause, and I thought, Hi-diddly-dee. My name is Anne Hathaway, and I’m an actor”.
“I performed my first scene ever when I was 12 years old in the 7th grade at Birmingham High School. I was very shy, and I had no idea what I was doing, so I just flung myself off the cliff and felt like I was falling. I’ve been falling ever since. I think that’s kind of what it is, informed falling. I’m Sally Field, and I’m an actor”.
Golden Globes Movies: Winning Films Enjoy The Taste Of Victory, But Does It Really Help Oscar Chances?
If anyone thought the Golden Globes results were going to add any clarity to the topsy-turvy atmosphere that has so far characterized this year’s Oscar race, forget it. In a week that has offered crushing disappointment and major highs …
In terms of the horse race for Oscars, this morning’s SAG Awards nominations are important on a couple of fronts. It’s the first Guild awards nomination announcement of the year, and that’s significant because the way guilds are thinking (with their strong crossover membership with the Academy) is usually the way Oscar voters are thinking. It’s much more significant in that regard than critics awards. These SAG Awards nominations, the only guild announcing before the Academy gets their ballots this year (10 days earlier than normal), also can have a strong effect on influencing acting Oscar nominations even more than usual due to the time crunch and the fact that many Oscar voters still have a lot to see. In the last few years, the correlation between SAG and Oscar has been strong: In the past two years, the two orgs agreed on 17 of 20 acting noms. Three years ago it was 19 of 20. And although the 2000-strong nominating committee that votes on this film list changes by lottery every year, it’s remarkably in step with the tastes of the Academy’s Actors Branch.
Related: SAG Awards Nominations Announced
What this year’s list really reflects is the tightness of the lead actor race. In September when The Master was released, it was almost unthinkable that Joaquin Phoenix’s highly praised performance would not be among the Best Actor nominees — but he’s AWOL here. I think it probably has less to do with the fact that he didn’t campaign (he didn’t appear at a single SAG Q&A and has been vocal about his disdain for the awards-season process) than the fiercely competitive nature of this category. Who are you going to cut out among Bradley Cooper, Daniel Day-Lewis, John Hawkes, Hugh Jackman and Denzel Washington? There is a long list of others left at the altar by SAG this year including Hitchcock’s Anthony Hopkins, Arbitrage’s Richard Gere, Hyde Park On Hudson’s Bill Murray, Django Unchained’s Jamie Foxx, Bernie’s Jack Black and Amour’s Jean-Louis Trintignant among others, but there just doesn’t seem to be room at the inn and the Academy is likely to have the same problem.
Cari Lynn is an AwardsLine contributor.
It’s not often that an actor guns for a character who promptly dies in a film, but Anne Hathaway fought for the heart-wrenching role of Fantine in this winter’s Les Misérables—and rightly so. Hathaway’s impassioned performance well makes up for the truncated role, and it’s her voice, singing “I Dreamed a Dream”—and shot live—that sets the scene for the trailer of this Christmas release. Hathaway is no stranger to the Oscar race, having been nominated for best actress in 2008 for Rachel Getting Married, but it’s this role that might well be her lock.
AWARDSLINE: Did you have to audition? And was it the role of Fantine that you always had your eye on?
ANNE HATHAWAY: I did have to audition. There was some resistance to the idea of me because of my age—I was in between the ideal ages of the main female characters and was told I was too old for Éponine and Cosette, but probably too young for Fantine. I agreed I was too old for Éponine and Cosette, but I got fiery and determined and pushed my way into an audition for Fantine. I had a three-hour audition but then had to wait a month until I heard anything.
Related: OSCARS: The Supporting Actress Race
The Les Miserables star and the SNL cast sing about Sundays:
Tom Rothman To Produce Spielberg’s Next For Fox ‘Robopocalypse’; Anne Hathaway In Talks To Join Chris Hemsworth
DreamWorks has set soon-to-be-outgoing Fox chief Tom Rothman to become a producer on Robopocalypse, Steven Spielberg’s next film. Chris Hemsworth is starring and Anne Hathaway is Spielberg’s choice to play the female lead, though the studio was denying this when I asked last week.
Here is the official announcement about Rothman, who stepped up on this film when Spielberg needed a distributor:
Los Angeles, CA (September 24, 2012) – Tom Rothman will come on board to produce the science fiction epic, “Robopocalypse,” it was announced today by Stacey Snider, Partner and Co-Chairman of DreamWorks Studios. Steven Spielberg is set to also produce and direct the DreamWorks and Twentieth Century Fox co-production.
The film will begin principal photography in early 2013 and will be released on April 25, 2014 day and date worldwide. The Walt Disney Studio’s Touchstone Pictures will distribute the film domestically via its Touchstone Pictures with Twentieth Century Fox handling international distribution.
Universal may have been the last of the seven studios participating here in Las Vegas at CinemaCon but their one-hour-and-forty-minute presentation today at Caesars Palace’s Colisseum theatre was perhaps the starriest of all. Hosted with confidence and self-deprecating humor by the studio’s chairman and 13 year U veteran Adam Fogelson, the exec made good use of his background as the studio’s former marketing head to really sell their summer slate – and beyond – with good old- fashioned star power and well-chosen clips. In addition to extended looks at their summer lineup, the show also featured the first glimpse anywhere of footage from upcoming movies Les Miserables, 47 Ronin, Oblivion which just started shooting with Tom Cruise, next summer’s R.I.P.D., and a specially produced animated piece just for CinemaCon to announce the 2013 arrival of Despicable Me 2. But the clear emphasis was on this summer’s promising-looking lineup as Fogelson opened by saying, “it is a good time for Universal”, especially with the studio’s early 2012 box office success that he noted has made them No. 1 in market share so far this year with such films as Contraband, Safe House which has grossed over $200 million globally (Denzel Washington’s second biggest hit), American Reunion which Fogelson said will also surpass the $200 million global figure before it’s done as well as The Lorax which he noted is one of only three animated films since July 2010 to clear $200 million domestically – and two of them are from the studio’s partnership with Illumination.