Real-life husband and wife Daniel Craig and Rachel Weisz in her Broadway debut will join Rafe Spall to star in Harold Pinter’s Betrayal, to be directed by Mike Nichols and produced by Scott Rudin. Performances are set to begin October 1 at the Barrymore Theatre, with opening night November 3. The plan is to run the drama, which originally appeared in 1978 at London’s National Theatre, for 14 weeks through January 5, 2014. In the play, Emma (Weisz) is married to Robert (Craig), a publisher, but she has long had an affair with Jerry (Spall), a literary agent and Robert’s best friend. As time is regained, the full complexity of their relationships comes to light.
George Clooney Sets Daniel Craig, Bill Murray, Cate Blanchett, Jean Dujardin For WWII Drama ‘Monuments Men’
EXCLUSIVE: What a killer cast George Clooney has put together for The Monuments Men, the period drama he will direct in a co-production between Sony Pictures and 20th Century Fox. Clooney will star with Skyfall‘s Daniel Craig, Bill Murray, Cate Blanchett, The Artist’s Jean Dujardin, Argo‘s John Goodman, Hugh Bonneville and Bob Balaban.
The drama, which was scripted by Clooney and partner Grant Heslov, confronts the final chapter of Germany’s rule, which came down to the absolute destruction of everything that makes a culture keep its standing, including the lives that are lost and the sacrifices that are made. All of this is in danger of being lost forever as Hitler and the Nazis try to cover the tracks of a murderous regime. A crew of art historians and museum curators unite to recover renown works of art that were stolen by Nazis before Hitler destroys them.
Los Angeles, September 19, 2012 – The British Academy of Film and Television Arts Los Angeles® (BAFTA Los Angeles), which is celebrating its 25th anniversary this year, has announced they will honor Daniel Craig, Quentin Tarantino, Trey Parker and Matt Stone, and Will Wright at the 2012 BAFTA Los Angeles Britannia Awards on Wednesday, November 7, 2012 at the Beverly Hilton Hotel. For the first time ever, the BAFTA Los Angeles Britannia Awards will broadcast on BBC AMERICA, airing in primetime November 11, 2012 at 8pm ET as a two-hour special, preceded by the Britannia Awards Pre-show Special at 7:30pm ET.
We’ve confirmed that the long-running James Bond franchise is alive and well through at least the 25th installment. The current 007 leading man Daniel Craig will star in at least two more Eon Productions films. And Sony Pictures, which badly wanted back in the Bond business after backing Craig in Casino Royale (2006), Quantum Of Solace (2008) and the upcoming Sam Mendes-directed Skyfall (2012), is on board to co-finance those same 24th and 25th films in the series.
While not quite as revelatory as, say, Peter Jackson’s 10-minute+ digital missives from Hobbiton, Sam Mendes here presents a 90-second videoblog from the set of Skyfall. The new 007 director waxes on his own Bond nostalgia and there are even a few glimpses of filming (Daniel Craig stalking in a …
Sony has just released the first official image from Sam Mendes’ Skyfall, the 23rd Bond film that stars Daniel Craig in his 3rd outing as 007. The cast also includes Javier Bardem, Ralph Fiennes, Berenice Marlohe, Naomie Harris, Ben Whishaw, Albert Finney and Judi Dench. Skyfall opens in the U.K. …
‘Skyfall’ Confirmed As Title Of New Bond Movie; Budget Around $230M; Sam Mendes Says He’s Open To Follow-up
Shooting on the latest James Bond movie starts Monday, Daniel Craig revealed at this morning’s press conference for Skyfall, the 23rd 007 movie. Producer Michael G Wilson scotched UK tabloid rumors that the budget for the latest Bond film has been slashed by $100 million. “We’re in the same budget range as the last film. We haven’t had to change anything in the script. In fact, we keep adding things — everything is going to be just as it was,” he said. Director Sam Mendes also denied he was making a downbeat Bond with fewer action sequences. He would be directing action sequences himself. “There will be plenty of surprises,” Mendes promised. “The action needs to be balanced with the drama.” Mendes said he was open to directing another Bond installment, “if I still feel that it’s as much fun in six months’ time, then the answer is yes.”
‘Dolphin Tale’ Leaps ‘Moneyball’ To #1 But New Pics Weak: ’50/50′ #4, ‘Courageous’ #5, ‘Dream House’ #6, ‘What’s Your Number?’ #8
SUNDAY AM, 6TH UPDATE: Still on vacation in a different time zone. That’s why I’m overdue on some autopsy reports I promised and haven’t yet delivered. I’ll release them Sunday. My sincerest apologies. (Unfortunately, I can’t get used to a definition of ‘time off’ that still makes me toil almost 24/7.) That said, the newest numbers have changed the Top 10 order yet again. (It was another confused weekend like the last one!) This crop of four freshmen failed to make much of an impression with moviegoers because holdovers still ruled the North American box office. But overall the weekend is up +10% from last year:
1. Dolphin Tale (Alcon, Warner Bros) Week 2 [3,515 Theaters]
Friday $3.4M, Saturday $6.5M, Weekend $14.2M (-26%), Estimated Cume $37.5M
Terrific hold as Alcon uncorks another feel good favorite. Dolphin Tale was up 88% from Friday night thanks to the saturday matinee bump. Now it’s placing above both films it trailed last week. But the cume is still lagging. And DreamWorks Animation/Paramount just pushed up the release of Puss ‘N’ Boots to October 28th — which will deprive Dolphin Tale of an extra week of alone time with families.
2. Moneyball (Sony) Week 2 [2,993 Theaters]
Friday $3.8M, Saturday $5.5M, Weekend $12.5M (-36%), Estimated Cume $38.4M
Excellent hold especially for a 2-quadrant pic. But Moneyball‘s cume needs more beer and peanuts to fatten.
3. Lion King 3D (Disney) Week 3 [2,340 Theaters]
Friday $3.3M, Saturday $4.4M, Weekend $11M, Estimated Cume $79.6M
Very impressive, still, for this juiced up toon as all releases pass Disney/Pixar’s Finding Nemo to become the 4th highest-grossing animated film of all time worldwide. Snarked a rival studio exec, “I could have told them about that 2-weeks-only crap…” By the way, remind me to tell you about the months of meetings which Disney’s Frankeneisner led over the story problems posed by ‘lion cub incest’ for the sequel was released. Only on Dopey Drive…
4. 50/50 (Summit/Mandate) NEW [2,458 Theaters]
Friday $2.9M, Saturday $3.6M, Weekend $8.8M
The first thing to ponder about this male Terms Of Endearment is that James McAvoy was supposed to play the guy with cancer. Instead, Joseph Gordon-Levitt came in at the last minute. Now it’s hard to imagine this truthful dramedy starring anyone else. Levitt is really becoming one of the most interesting young actors around even if he’s not box office — yet. Summit Entertainment and Mandate Pictures gave 50/50 a surprisingly wide release this weekend: in the old days this pic would have been platformed so audiences could “find” it. But these days, with the skyrocketing costs of marketing, there’s simply no time or purpose to doing that anymore. (“It was always envisioned as a wide release picture as opposed to platform because of its playability,” an insider tells me.) Problem is, Summit thought the film would open around the low double-digits. Nope, despite an ‘A-’ CinemaScore from audiences. Summit says audience ratings & definite recommends were about 20 points above the norm, one of the
highest ever in the studio’s exit polling. More females (54%) came than males (46%). In terms of age demos: 83% were between the target audience of 18-49, 35% under 25, 57% under 30, 43% over 30. Studio sources claim the film’s negative cost is only $8 million. The question now is whether strong word of mouth will allow this pic to play for several weeks and end up with a decent cume.
As you must know by now, the screenwriter Will Reiser based the story in part on his own life, and filmmaker Jonathan Levine promoted not only the film and but also cancer awareness. Pre-release, 50/50 was tracking well with both male and females and with older and younger audiences showing interest. But the really downer disease just kept audiences away despite partnerships with national support groups like Stand Up To Cancer and Lance Armstrong’s Livestrong as well as regional orgs. Marketing-wise, the film at first was positioned as a broad Seth Rogen comedy (not another one!). But then the studio imbued it with the feel of a specialty film. TV buys focused on younger movie-goers first and then expanded to older males and females based on the evolved positioning. Summit began an extensive word-of-mouth screening program in early August and premiered it at the Toronto Film Festival to a standing ovation. Hey, don’t complain about Hollywood’s crappy movies if you won’t support the quality ones. I’m truly disappointed that this pic didn’t do better. It deserves to be seen.
5. Courageous (Sony) NEW [1,161 Theaters]
Friday $3.1M, Saturday $3.2M, Weekend $8.8M
This movie was Fireproof 2 — only substitute fatherhood problems for marriage woes, and law enforcement officers for firefighters. Like most of these faith-based films, Sherwood Pictures’ Courageous was front-loaded because of pre-sales and church groups bussed to theaters. But Sony initially expected a better opening weekend even though it was playing in only half as many locations as the other major studio releases. Still, it made the best per-screen average and rated a rare ‘A+’ CinemaScore across the board with men and women of all ages. Opening weekend exits show the audience was fairly balanced in gender (53% was female) and the reach had a slightly older skew (77% were aged 25+). These pics cost next-to-nuthin’ — Courageous made back its $2 million production budget in its first day of release. Sherwood Pictures is based in Albany, Georgia, where moviemaking ministry Sherwood Baptist Church churns out these inspirational films aimed at Christians. Sony Pictures’s secular TV media was concentrated in outlets like Dr. Phil, Dr. Oz, Hallmark Channel, TLC, Lifetime, and TV Land as well as more conservative-leaning outlets ranging from Fox News, CMT to Christian Broadcasting Network and Gospel Music Channel. The marketing budget was “modest and grassroots’. Like Fireproof (2008), Facing The Giants (2006), Flywheel (2003), the co-writers were Stephen Kendrick, who also produced, and Alex Kendrick, who also directed. They, along with producers Michael Catt and Jim McBride together make every movie decision at Sherwood where the four-man team also serve as pastors of the church. Fireproof opened as the No. 4 film in the nation this same time of year, eventually grossing $33 million theatrically. But it also starred former TV teen hearthrob Kirk Cameron, and Courageous was cast with unknowns.
6. Dream House (Morgan Creek/Universal) NEW [2,661 Theaters]
Friday $2.9M, Saturday $3.5M, Weekend $8.2M
Jim Robinson’s Morgan Creek shows yet again that it can’t make or market a movie to save its life. It can’t even handle publicity: MC’s morons apparently can’t find my email address because I’ve received nada from them about this opener. Then again the pic wasn’t screened in advance for critics — always an indicator of a stinker. Don’t blame Universal: it was just distributing Dream House. Morgan Creek paid for and did everything else. Badly. Directed by 6-time Oscar nominee Jim Sheridan and starring Daniel Craig, Naomi Watts, and Rachel Weisz, they all must have needed the payday because they’re way too major to do this critically-panned drivel from a script credited to David Loucka. Sheridan lived to regret it because he and the producers fought over final cut. No wonder none of the major stars publicized the pic. (FYI, Craig and Weisz met on location and later married…) Seriously, this derivative haunted house tale gives new meaning to the definition of derivative. Worst were those TV ads that stole scenes from The Shining. I think it’s high time that the distrusted and disliked Robinson switches professions and starts selling used cars instead of used movies.
7. Abduction (Lionsgate) Week 2 [3,118 Theaters]
Friday $1.7M, Saturday $2.5M, Weekend $5.6M (-48%), Estimated Cume $19.1M
You’ll be reading my mea culpa Sunday when I release my long autopsy report on this domestic bomb. (Though it’s foreign rollout is better so far.)
8. What’s Your Number? (Fox) NEW [3,002 Theaters]
Friday $2M, Saturday $2.1M, Weekend $5.6M
Anna Faris is the modern-day Goldie Hawn: it’s impossible not to like her. Unless you put her in a really lousy R-rated New Regency fully-financed movie like this that Fox surrounded with a muddled marketing campaign vascillating between a female-empowerment pic and a run-of-the-mill rom-com. Problem is, daters haven’t talked about their “number” since the mid-1980s when sexually-transmitted diseases were scaring the bejesus out of singles. Audiences gave What’s Your Number? a ‘B’ CinemaScore. Pic cost only $20M. Its cost to Anna’s career may be more. (I’d like to see Faris in that remake of Hawn’s Private Benjamin she was supposed to do for New Line. It earned Goldie a Best Actress Oscar nom.) Directed by Mark Mylod and produced by Beau Flynn and Tripp Vinson with screenplay credit given to Gabrielle Allan & Jennifer Crittenden, based on the book 20 Times A Lady by Karyn Bosnak.
9. Contagion (Warner Bros) Week 4 [2,744 Theaters]
Friday $1.4M, Saturday $2.3M, Weekend $5M, Estimated Cume $64.6M
Let’s just say I spent my first day of vacation getting three kinds of flu shots after seeing this movie.
10. Killer Elite (Open Road) Week 2 [2,986 Theaters]
Friday $1.5M (-57%), Saturday $2.1M, Weekend $4.8M, Estimated Cume $17.4M
I’m not letting Open Road off the hook on this dead fish, either. Autopsy report coming Sunday, too.
Solid First Half For UK’s Pinewood Shepperton Studios
Revenues are up 68% over the first half of the 2011 according to interim results released today, from $27M to $42M over the same period a year ago. The largest film production based at Pinewood Studios during the period was Dark Shadows (Warner Bros), and the largest production based at Shepperton Studios was Wrath of the Titans (WB). Other films that used Pinewood Shepperton facilities included The Iron Lady (DJ Films/Pathé), Gravity (WB), Woman in Black (Hammer Films), 47 Ronin (Universal) and Ridley Scott’s Prometheus (Fox). Universal’s Snow White And The Huntsman has just begun shooting at Pinewood. The surge in film business offset a drop in TV revenues from $8.3M last year to $7.6M, which the studio attributed to using more space on movie productions.
Off-Track Bond 23 May Exit India For South Africa
Unhappy that permission to shut down portions of two railways outside Mumbai still has not been granted, Take One Productions is threatening to move production of Bond 23 from India to South Africa. Originally scheduled to shoot in the fall, the Sam Mendes-directed project starring Daniel Craig is now pointing for a January start. “South African authorities are waiting to provide everything that is required to support this movie,” said Take One’s Pravesh Sahni. “If we can’t get this cooperation from India, the film will no longer be shot here.” The railroad scenes will be a major part of the film, Sahni told The Times of India.
With the recent announcement of selections for this year’s Toronto International Film Festival, Rachel Weisz discovered she is going to be there with two films: The Deep Blue Sea and Fernando Meirelles’ ensembler 360. But it was her acclaimed performance in another Toronto film — from the 2010 fest — that she most wanted to discuss when I recently caught up with her.
After its 2010 Toronto premiere, buzz started on awards prospects for The Whistleblower star Weisz’s intense and emotional performance. But after the fest, filmmakers went back into editing and toned down the harrowing rape scenes and further shaped the movie, which finally gets released today through the Samuel Goldwyn Company, which hopes the awards buzz will pick up again, especially if the distributor can get any box office traction in a crowded marketplace for small movies like this one.
Although it received mixed reviews after its Toronto unveiling, there was near-unanimous praise for Weisz’s portrayal of real-life Nebraska cop Kathryn Bolkovac, who took a job as a peacekeeper in post-war Bosnia only to uncover a web of corruption, sex trafficking and United Nations cover-ups when she arrived there in 1999. The real story turned out to be too intense to show the way it really was. “In fact the rape scene was cut down after the Toronto screening by the studio, which I completely understand,” she says. “It would be just too harrowing for people to watch. What actually happened was so much worse. I mean the stories I could tell you from the first person who encountered these young women. That was the ‘light’ version if you can believe that. But it isn’t a documentary, you don’t want to destroy people. You just want to illuminate something that actually happened that was a hundred times worse.”
Universal and Morgan Creek have put up a trailer for Dream House, the thriller that stars Daniel Craig, Rachel Weisz and Naomi Watts. The Jim Sheridan-directed film will be released September 30. The trailer certainly lays out a lot of the plot and is it me, or is some of …
UPDATE EXCLUSIVE: Imagine Entertainment’s Brian Grazer and Ron Howard have reached a milestone unusual in Hollywood: partners for 25 years. When they first got together, Grazer was a TV producer. Howard, after growing up on the small screen in The Andy Griffith Show and Happy Days, had only directed a couple of TV movies and the low budget Roger Corman-produced Grand Theft Auto. Grazer and Howard have been at it together ever since, building a company that over 25 years has been one of the most consistent generators of content. Their TV series output includes 24, Parenthood, Arrested Development and Friday Night Lights; their movies have grossed $13.5 billion worldwide. That includes A Beautiful Mind, which won Howard the Academy Award for Best Director. Grazer and Howard shared Best Picture Oscars that night as well. Not everything they’ve done has succeeded, of course. They they took their company public and repurchased the shares; they helped launched and fold the online venture Pop.com; their most recent film together, the adult comedy The Dilemma, was a misfire that created controversy over the inclusion of the word “gay” in a trailer. They’ve had way more hits than misses.
In honor of Imagine’s Silver Anniversary, Deadline invited Howard and Grazer to look back over their quarter century together, and into a future that includes something never tried before by anyone in Hollywood. They’re adapting Stephen King’s 7-novel series The Dark Tower into a film trilogy, and a limited run TV series in between. It has pushed the envelope enough that their longtime home studio, Universal Pictures, postponed a planned late summer start until next year and asked the filmmakers to cut the budget. Some question the studio’s resolve on such a massive undertaking. The studio has to green light the film by next month or the rights revert to Imagine, Akiva Goldsman and King, who are determined to make it regardless.
DEADLINE: Not many marriages of any kind last 25 years in Hollywood. What is most important about the anniversary?
HOWARD: It’s such a challenging time to get movies made. And yet, look at all we have coming out. Tower Heist, the Gus Van Sant movie Restless, J Edgar with Clint Eastwood and Leo DiCaprio, Cowboys & Aliens, this big broad appeal four quadrant fantasy adventure story with Harrison Ford and Daniel Craig. With The Playboy Club getting on the air, and Parenthood getting picked up, I’m proud we’re doing what we’ve always done. A wide variety of projects that got made because we care and put in the energy to get them done in light of how difficult it is these days.
DEADLINE: Simple as that?
HOWARD: Because I’m in New York, we’re not forced to stare at each other’s faces 24/7. But I think that’s not really it. We love what we’re doing, we have fun doing it and our sensibilities are in sync. In a business that can create so many feelings of anxiety and self-doubt, I learned to trust in that. Brian is smart and cares about me doing well and feeling good about what I’m doing. It’s a partnership built on support. It has been that way since the beginning.
GRAZER: It works because we have similar tastes and not only gravitate toward the same material but also what lives inside the core of the movie it becomes. We’ve done, and Ron has directed, all kinds of genres. We have a common interest in the humanity aspect of a movie, regardless if it’s a comedy or a drama. We also share a similar work ethic.
DEADLINE: When you cover all genres, does Imagine have a wheelhouse? For a company looking to last, is it advisable to have one?
HOWARD: The process is what gets Brian and me excited, whatever the genre. Not specializing has given our company a sense of flexibility and adaptability to whatever the market or the zeitgeist is suggesting. We’ve always respected each other as creative people. If Brian loves something and I don’t quite get it, I’ll tell him that but I’ll never try to impede the progress. He’s the same with me. With Apollo 13, I wasn’t sure the genre would work, because space films hadn’t done that well. Brian was instantly so excited about it, and made me realize we were onto something. 8 Mile, I don’t know anything about rap. This was something he understood. I didn’t know how to make that movie, but I recognized a great idea. Whenever the two of us get excited, on films like Splash, Night Shift and Parenthood, those have resulted in the building blocks of the company. I’ve always liked TV but I phased it out for awhile and it was Brian’s perseverance that has made us strong in both TV and films. Independent companies are rarely strong in both.
GRAZER: What we’ve do is agree on the moral center of a project, but nobody’s better at finding the language of a particular movie than Ron. He’s got a grasp of understanding new vocabularies, whether it’s the The Da Vinci Code, fantasy like Cocoon or Splash, or Backdraft and The Grinch. He is great at inhabiting a world and completely understanding and expressing its language. In A Beautiful Mind, he entered that world and understood the medical science of mental illness. So there have been times where he led the charge, and I was drawn in by his excitement.
DEADLINE: What was the last hard conversation or professional disagreement you can remember?
HOWARD: I can’t think of one offhand, but even when we have disagreements, I can’t think of a case where one of us ever said, ‘Oh, please don’t do this.’ If there’s a lot of passion from one or the other, then the support of the company is going to be there.