Even though Comic-Con god Edgar Wright is directing, and Paul Rudd set as Scott Lang and Michael Douglas playing Hank Pym, Marvel Studios‘ Ant-Man movie still has me wondering if a guy capable of shrinking and …
The History Of Marvel’s ‘Ant-Man:’ Troubled Wife Beater, Creator Of Avengers And Ultron; Maybe Marvel Is On To Something?
Co-host Amy Poehler found herself celebrating at Sunday’s Golden Globes when she won a statuette herself between emcee duties; Bryan Cranston wound up double-fisting Breaking Bad‘s two Globes on the night, one for his star turn as the conflicted Walter White. See all of the night’s victors take the winners’ circle backstage, including Jennifer Lawrence, Amy Adams, and the makers of American Hustle; Leonardo DiCaprio (Best Actor – Comedy/Musical, The Wolf of Wall Street), Matthew McConaughey (Best Actor – Drama, Dallas Buyers Club), Cate Blanchett (Best Actress – Drama, Blue Jasmine), Michael Douglas (Best Actor, Miniseries/Made for TV movie Behind the Candelabra), and more:
EXCLUSIVE: Permut Presentations and Grey Eagle Films will produce The War Of The Roses, The Children, an adaptation of the sequel novel by Warren Adler, whose original was the basis for the 1989 film in which director Danny DeVito tapped his Romancing The Stone cohorts Michael Douglas and Kathleen Turner and pitted them in a divorce battle to the death.
Here, the chandelier-shattering legacy of Barbara and Oliver Rose is passed down to their children, Josh and Evie, in a black comedy that focuses on ugly divorce from the vantage point of kids who fall victim to warring parents. Josh marries Victoria, only to see the marriage fall apart over an incident involving missing Milky Way bars; and Evie is a promiscuous over-eater carrying her own shrapnel. The result is deceit, violence and destruction. Permut will produce with Grey Eagle Films, Jonathan Adler and Stephen Greenwald. Chris Mangano will be exec producers. Grey Eagle Films got the film and TV rights to all of Adler’s novels, and newly monied Permut Presentations is financing development, and is currently seeking a scribe.
Ray Richmond contributes to Deadline’s TV coverage.
Get ready for the Michael Douglas awards parade. First up: The Primetime Emmys. To be sure, he’s the overwhelming favorite for this year’s movie/miniseries lead actor for his universally acclaimed performance as Liberace in Behind The Candelabra. He was so good that it overshadowed even the work of a superstar like Matt Damon in the same film (where he played the pianist’s young lover Scott Thorson). Al Pacino also is nominated for his portrayal of convicted murderer Phil Spector in the biopic of the same name, along with Benedict Cumberbatch for the mini Parade’s End and Toby Jones for the Alfred Hitchcock drama The Girl. Notably, all five nominees are honored for HBO projects. On the actress side, Jessica Lange is up for lead (instead of last year’s supporting) in FX’s American Horror Story: Asylum, which puts her in the unusual position of having the opportunity to win Emmys in back-to-back years for the same series in different categories. However, Lange’s foes for movie/mini lead actress have a combined 25 nominations and 7 wins to their credit. Two of them are chasing their first victories: Elisabeth Moss for Sundance Channel’s Top Of The Lake and Sigourney Weaver for the since-canceled USA Network mini Political Animals. Then there’s Laura Linney, also switching categories for Showtime’s The Big C: Hereafter; and Helen Mirren as lawyer Linda Kenney-Baden in Phil Spector.
David Mermelstein is an AwardsLine contributor.
When word first leaked that square-jawed, macho Michael Douglas would star in a biopic of Liberace, the swanning pianist famous for garish costumes and flashy keyboard antics, many feared the worst. But HBO’s Behind The Candelabra, directed by Steven Soderbergh and based on a memoir by Liberace’s lover Scott Thorson (played by Matt Damon), is anything but an exercise in misguided casting. Instead of camping it up, Douglas, who remains best known for his Oscar-winning turn as Wall Street lizard king Gordon Gekko, embraces his inner queen in an audacious and vulnerable performance.
AwardsLine: How were you first approached for the role of Liberace—and what appealed to you about the part?
Michael Douglas: It’s wild. It goes all the way back to 2000, when I was doing Traffic with Steven. One day he says, “Ever thought about playing Liberace?” I thought he was messing with me. But a couple of times on the set I did an imitation, just for fun. Then seven years later, he called and said, “I’m going to be sending you something.” It was the book Behind The Candelabra by Scott Thorson. Jerry Weintraub had acquired it for Steven, Richard LaGravenese had written the screenplay, and Matt Damon wanted to play Scott. It was a great screenplay with a wonderful character for me to eat up the scenery. My whole career has been me playing contemporary characters, so I welcomed the chance to get behind a figure from a different era. It was like painting on a clown face rather than wiping my face raw for a part. It even required appliances and hairpieces and all that.
Related: EMMYS: Movies/Miniseries Overview
After two years in a row of heavily influencing the Oscar race, the 66th Cannes Film Festival lineup may make it three this year. Certainly I see very long and winding Croisette lines to pick up press or market credentials at the Palais, which is adorned with posters of Paul Newman and Joanne Woodward in a provocative still shot from their fluffy France-set 1963 comedy A New Kind Of Love. One early clue came when the jury was announced, beginning with President Steven Spielberg and including such Oscar winners as Ang Lee, Nicole Kidman and Christoph Waltz. And if it’s not enough to have those icons prominent at this year’s fest, add The Great Gatsby‘s Baz Lurhmann whose film is the opening night event with a gala after-party, and Martin Scorsese who will also be in town for a yacht party announcement of his longtime gestating directorial effort Silence on May 16th. Certainly many of the Cannes contenders both in and out of competition are from Academy Award winners and Cannes veterans back with intriguing films that make up a high profile and potent selection with advance buzz. Competing are the Coen Brothers, Steven Soderbergh, Roman Polanski and Alexander Payne plus a slew of famous names in front of the cameras both on screen and on the Red Carpet this year.
As for the competition and key sidebars, one perennial Cannes question os whether it’s a good idea to ready or even rush a film designed for year-end release in order to play at the Festival in May. Particularly of that means risking negative reviews which can be a real buzz killer. Take, for instance, Payne’s last minute entry Nebraska from Paramount, which almost didn’t appear here. In the initial forecast Deadline posted on March 13, we thought Payne’s film fit in with the auteurist nature of the fest, it’s in black and white, and its filmmaker is quite a favorite in Cannes. (He has had only one film previously in competition – 2002′s About Schmidt – and won no prize, but he not only headed the jury for Un Certain Regard in 2005 but also was a member of the main competition jury last year.) Yet shortly after this prediction I was told Cannes wasn’t in the cards due to Payne’s fondness for long post-production time. He didn’t want to be rushed. Then the studio saw the film about a week before the Cannes deadline and execs urged Payne to put it into the festival. He took Nebraska to Paris to show to Cannes programming honcho Thierry Fremaux with just two days to go before the press conference announcing the 2013 lineup. Now it is one of the most anticipated screenings even though it ooccurs towards the end of the Festival on May 23. Paramount claims it recently had a successful research screening in Pasadena and has dated the film for November 22nd, right in the heart of Oscar season (Payne is a two-time Screenwriting Oscar winner for Sideways and The Descendants).
Conversely there was absolutely no doubt Joel and Ethan Coen would be bringing their latest, the 1960′s-set Greenwich Village folk music tale Inside Llewyn Davis screening on May 19. It is their 8th time around this particular block so they are virtually Cannes regulars. CBS Films won’t release the movie stateside until December 6, another prime Oscar date.
Roman Polanski’s Venus In Fur screening on May 25 on the last day of competition is the adaptation of the Tony-winning Broadway play. It brings Polanski back to Cannes for the first time since winning his only Palme d’Or (for 2003′s The Pianist, which resulted in a Best Director Oscar). It stars his wife Emmanuelle Seigner and Mathieu Almarac and though audiences and critics weren’t too impressed with the last Polanski Broadway play adaptation God Of Carnage, this dramatic work could be more up his alley. There’s also strong interest in French director Arnaud Desplechin’s Jimmy P: Psychotherapy Of A Plains Indian screening May 18 largely due to lead actor Benecio Del Toro’s role as a Blackfoot Indian WWII vet. (But someone’s gotta change that lumbering title.) Cannes watchers also are buzzing about new works from three directors who are no strangers on the Croisette: Nicolas Winding Refn who won Best Director in Cannes for 2011′s Drive and has re-teamed with star Ryan Gosling as a drug smuggler in the May 22nd entry Only God Forgives. (I am told Kristin Scott Thomas steals this one as his mother). And though his films don’t make much noise in theatres, James Gray is a Cannes favorite and back with his fourth competition entry, The Immigrant (formerly called Lowlife) screening May 24th with a starry cast of Marion Cotillard, Joaquin Phoenix and Jeremy Renner. Jim Jarmusch brings his new Vampire story Only Lovers Left Alive which stars the always intriguing Tilda Swinton, Tom Hiddleston and Mia Wasikowska . It has the distinction of being the last film to make the list and the last competition film to be screened: in the 10 PM slot on May 25th.
As always with Cannes there is just too damn much to see with many sidebar competitions like Un Certain Regard, Director’s Fortnight, Critics Week, Cannes Classics and so on. Certainly the opener for Un Certain Regard, Sofia Coppola’s The Bling Ring and Ryan Coogler’s Sundance sensation Fruitvale Station (summer releases stateside) are both screening on the sidebar’s first day of May 16th and are instant must-sees in addition to James Franco’s directorial outing, As I Lay Dying, on May 20th.
The full trailer for Steven Soderbergh’s Behind The Candelabra: The Secret Life Of Liberace has dropped and it’s quite a vision. It’s full of glitz, glamour, dazzling piano-playing and Matt Damon screaming “I don’t even have my own face”! Michael Douglas is set as the famed pianist …
The first teaser for Steven Soderbergh‘s Behind The Candelabra: The Secret Life Of Liberace was a real tease, indeed — offering only a jazzy credits roll and a series of falling piano keys. This one, which dropped over the weekend, pulls back the curtain …
Academy Awards show producers Craig Zadan and Neil Meron announced today that Oscar-winning actors Michael Douglas and Jamie Foxx will join Jennifer Aniston and Paul Rudd as presenters on the Oscars telecast Sunday.
Michael Douglas, Matt Damon, Steven Soderbergh & Jerry Weintraub On HBO’s ‘Behind The Candelabra’: TCA
Diane Haithman is contributing to Deadline’s TCA coverage.
At today’s TCA panel on HBO’s Liberace drama Behind The Candelabra, the creative forces behind the project stressed that they are attempting to get at the humanity rather than just the camp-and-glam elements of the lives of Liberace (portrayed by Michael Douglas) and his younger live-in lover Scott Thorson (Matt Damon). The actors appeared on today’s panel with director Steven Soderbergh and executive producer Jerry Weintraub.
Soderbergh said he was drawn to the source material, Thorson’s book Behind The Candelabra: My Life With Liberace, written with Alex Thorleifson. The story was adapted for TV by screenwriter Richard LaGravenese. In the book, Soderbergh said, “the conversations are the kind that every couple has. It’s an unusual setting, but we take the relationship seriously.”