Three Added To Cast Of Susanne Bier’s ‘A Second Chance’
Nikolaj Lie Kaas, Maria Bonnevie and Ulrich Thomsen have joined the cast of Susanne Bier’s A Second Chance. Nikolaj Coster-Waldau stars in the film, which focuses on how far decent human beings are willing to go when tragedy blurs the line between the just and unjust. Shooting is underway in Denmark. Lie Kaas stars in the current No. 1 film at the Danish box office, The Keeper Of Lost Causes. He’s next up in Child 44. Thomsen, from Cinemax’s Banshee, has previously worked with Bier in Brothers and A Better World. Swedish-Norwegian actress Maria Bonnevie’s recently starred in Belle Du Seigneur with Jonathan Rhys Meyers and Marianne Faithful. TrustNordisk kicked off international sales on the Danish-language A Second Chance during the AFM. READ MORE »
Global Showbiz Briefs: Susanne Bier’s ‘A Second Chance’ Adds Three; Fox Sports 2 Coming To Italy; More
Three Added To Cast Of Susanne Bier’s ‘A Second Chance’
Catch up with the best of Deadline’s Top Film stories from this week:
SHOCKER! Charlie Hunnam Exits Christian Grey Role In ‘Fifty Shades Of Grey’
By Mike Fleming Jr. – Well, here’s a surprise. Universal is going to have to look harder to find its S&M minded zillionaire Christian Grey because Sons Of Anarchy star Charlie Hunnam has exited the role he only just got.
Angelina Jolie Sets Japanese Singer Miyavi As Brutal WWII POW Camp Guard ‘The Bird’ In ‘Unbroken’
By Mike Fleming Jr. - EXCLUSIVE: Universal Pictures and director Angelina Jolie have found their villain for the Lou Zamperini tale Unbroken.
Universal Pays 7-Figure Deal For Aaron Berg ‘Section 6′ Spec
By Mike Fleming Jr. – EXCLUSIVE: It’s not only an exceptional deal for a new writer; I’m hard pressed to come up with the last clean seven-figure deal for a script with no attachments. Four studios bid on the project…
EXCLUSIVE: Sony Pictures today releases Paul Greengrass‘s Captain Phillips. It’s a reminder why, if you follow auteurs like I do, you can’t beat this time of year. Just last week, I was as astonished by Alfonso Cuaron’s 3D marvel Gravity, especially after covering its twists and turns when Angelina Jolie dropped out and Universal let it go; when no studio would touch it until Warner Bros’ Jeff Robinov took a shot; and even then, casting was difficult and none of the studios co-financing partners wanted to share the risk on a film with an $85 million budget and two actors floating in space. It seemed like only Cuaron believed in this film, and good for him that it’s minting money.
There’s nothing like the resolve of an auteur-level filmmaker. I’ve felt it on Ang Lee’s Life Of Pi, Christopher Nolan’s Inception, Michael Mann’s Heat, Peter Jackson’s The Lord Of The Rings, Francis Coppola’s Apocalypse Now, Mel Gibson’s Braveheart, Alan J. Pakula’s All The President’s Men, Curtis Hanson’s L.A. Confidential and Martin Scorsese’s Mean Streets and Taxi Driver. That brings me to Greengrass, who left me feeling the same way with Bloody Sunday.
I’ve told my readers that every year I read his pitch for United 93, the 2007 film about the heroism of passengers who lost their lives wresting control of a plane and crashing it in Pennsylvania before terrorists could slam it into the White House or the Capitol Building on September 11, 2001. I read it every year because to me, it is a compelling example of pure artistic passion, burning desire and urgency. Readers asked me to publish the United 93 pitch last time I mentioned it, and so I asked Greengrass if I could. Not only did he give Deadline permission, he graciously set the stage and explained why this document sprang from him like a torrent. If you stay with it, what you’ll get here is a glimpse into the creative process of a writer/director who plays the game on the highest level, and who raised his game here. I still can’t believe United 93 got made by a major studio with no stars and a tragic ending everyone knew was coming. But as you will see, Greengrass was not to be denied.
“I remember it vividly,” Greengrass told me, about the day he wrote the United 93 pitch. “I wrote it in the aftermath of 7/7, what we call the bombing of four tube subway trains in London. I had wanted to make [United 93] for awhile, but I hadn’t gotten the courage to do it. Now, 7/7 it wasn’t as large a loss of life as 9/11, but at the time it looked like it could be of catastrophic proportions. I was in my office and somebody came over and said, you need to put on the television. They first say there was a bomb in the subway, then it’s two, three and four, or three subways and a bus. You get the little ones off to school, but my son, who was a teenager at the time, was out and about. I remember speaking to his mom. Like so many people did that day, you have that terror for an hour or two. He couldn’t have been on one of those, could he? Turns out he’d gone to a friend’s house, and he was fine. But for a couple of hours…I remember later that day saying, I’m going to write this thing. What is going on in our world is so intense and so frightening and so throwing the axis of our world off, that I must explore it. I must find a way of talking about it. I’ve got to go to the heart of it, where it began, and what I’ve got to do is say, what does it mean? I’m not interested in what people tell me it means, I’m not interested in what politicians tell me it means, I’m not interested in what we fear it means. As best we can, if we can make a film and start at the beginning, the struggles for the control of an airplane. That was the heart of it. What does that mean for our world? And next day, I wrote that document. That was July, and we sent it out and I was shooting that film by the end of the year.”
Flight 93 Treatment
What does it mean?
That’s the question we ask ourselves over and over again. Does it mean war without end? The onset of a new fascism. A shadow over all our lives.
Or is it instead a chance to renew our vows or patriotism? Of heroism. A chance to write a burnished page in history.
Perhaps it’s a wake up call. An event so calamitous that it forces us to acknowledge the fire raging outside. Makes us engage with the world. Drain the swamp.
Or was it just a chance event. Something terrible and unrepeatable that lacks meaning beyond itself. We mourn, remember the victims, but draw no lasting conclusions.
I doubt it.
I think we all know that somehow, in some way, it changed things in our lifetime forever.
* * *
There’s lots of ways to find meaning in the events of 9/11, especially as we move towards next year’s fifth anniversary.
Television can convey events as they happen. A reporter can write history’s rough first draft. Historians can widen the time frame and give us context. Politicians can seek to ride the waves of emotion. The best of them can lead us too. Religious leaders divine spiritual meanings and give us comfort. There are many ways…
Well I make films and I believe they have a small part to play, too. And I also believe that sometimes, if you look clearly and unflinchingly at a single event, you can find in its shape something precious, something much larger than the event itself…the DNA of our times.
Hence a film about Flight 93.
As Oliver Stone And Jamie Foxx Mobilize DreamWorks MLK Pic, Paul Greengrass, Isn’t It High Time For ‘Memphis’?
Reports are surfacing that DreamWorks is ready to move forward with the authorized version of Martin Luther King‘s life story, the one that MLK’s family is behind and which has the rights to use his copyrighted speeches. They have Jamie Foxx and director Oliver Stone poised for an Any Given Sunday re-team on the project, which they want to do with Warner Bros. All I can think of as director Paul Greengrass and producer Scott Rudin prepare for tomorrow’s opening of Captain Phillips is, Paul, get busy on your MLK film Memphis, because your Oscar-caliber script is just way too good to get relegated to the scrap heap.
I’ve been writing for years about Memphis, Greengrass‘ script about a great man’s final days. It started out at Universal, which put it in turnaround right around the time that the director’s relationship with the studio soured over his unwillingness to do a fourth The Bourne Identity and after he clashed with the studio over the high-budget misfire Green Zone. It became a hot potato project then, when the King family and the activist’s close confidante, Ambassador Andrew Young, objected to it. Among their objections: King is depicted sharing a bed with a woman who was not his wife. The key has always been about opening the film on MLK weekend, and it stalled that first time because they couldn’t set it up again and make it fast enough. They tried again last year, with Veritas in talks to finance with Wild Bunch, but Greengrass instead took on Captain Phillips, the Sony drama about the Somali pirate heist that stars Tom Hanks as Captain Richard Phillips. Rudin joined his Social Network cohorts Michael De Luca and Dana Brunetti to deliver a tense, excellent drama.
The Memphis script depicts King’s final days as he struggled to organize a protest march on behalf of striking black municipal sanitation workers in Memphis, TN, where he was slain. That storyline is juxtaposed with an intense manhunt for King’s assassin James Earl Ray, involving some of the federal authorities who, at Hoover’s direction, had dogged King’s every step with wiretaps and whispering campaigns before the civil rights leader’s death. The dual narrative is explosive and I don’t know what Kario Salem has written for DreamWorks, but the word biopic makes you worry that it will be reverential and looong. Memphis was a snapshot on parallel with Greengrass’s Bloody Sunday. It is a powerful testament to King’s struggle and his sacrifice, and even if he was portrayed as an imperfect human being, it did not define him. Let’s face it, all those ’60s icons including the Kennedys were not monogamous.
The New York Film Festival has begun unveiling films for its 2013 program, and it begins with Captain Phillips, the Sony Pictures film that Paul Greengrass directed and Tom Hanks starred in as the captain who put himself in the hands of Somali pirates instead of his crew after the cargo ship he captained was hijacked in 2009. He was rescued in a dangerous mission by a Navy SEAL team. It seemed a good candidate to grace Gotham’s prestigious festival as the opening-night film. One of the film’s producers, Scott Rudin, is a New Yorker who brought The Social Network to the festival. And the film was conspicuously absent from the Toronto and Venice lineups. Here is the official word:
New York, NY, July 29, 2013 – The Film Society of LincoOoln Center announced today that Paul Greengrass’s CAPTAIN PHILLIPS will make its World Premiere as the Opening Night Gala presentation for the upcoming 51st New York Film Festival (September 27 – October 13). Starring two-time Academy Award® winner and 2009 Film Society Chaplin Award honoree Tom Hanks in the title role, the film is Academy Award®-nominated director Paul Greengrass’s multi-layered examination of the 2009 hijacking of the U.S. container ship Maersk Alabama by a crew of Somali pirates.
NYFF’s Director of Programming and Selection Committee Chair, Kent Jones said, “CAPTAIN PHILLIPS is a riveting experience. At this point in his working life, Paul Greengrass has become a master of immersive reality-based narratives set along geopolitical fault lines – in this case, the 2009 seizure of the Maersk Alabama cargo ship by four Somali pirates. I’m excited that this tough, tense, real-life thriller, capped by the remarkable performances of Tom Hanks and four brilliant first-time Somali actors (Barkhad Abdi, Faysal Ahmed, Barkhad Abdirahman and Mahat M. Ali), is opening the 51st edition of the festival.”
UPDATE: I just started vacation but learned that Scott Rudin will produce Chicago 7.
PREVIOUS EXCLUSIVE, TUESDAY 2:40 PM: I’ve learned that DreamWorks is finally reviving a once hot project that has barely been touched since its director Steven Spielberg suspended it back in 2008. Conventional wisdom had it that this would be Spielberg’s next Oscar pic. Since then, “every two months it’s been revisited. The title would come up in conversation at production meetings. But it’s just been hanging,” a source tells me. No longer. I’ve learned the studio is moving forward with Paul Greengrass in final talks to direct Aaron Sorkin‘s script The Trial Of The Chicago 7. It’s based on the infamous 1969 federal conspiracy trial arising out of the protesters vs police violent rioting at the 1968 Democratic National Convention in Chicago that transfixed the nation because of its counter-culture and leftist mayhem intended to undermine the U.S. government.
The modestly budgeted $20M-$30M film will start production probably in January. DreamWorks is funding all development with its financial partners, and Disney will distribute. No casting is in discussion yet because the deal isn’t done for Greengrass (United 93, The Bourne Supremacy, The Bourne Ultimatum, Green Zone). His upcoming Captain Phillips biopic starring Tom Hanks about a sea hijacking by Somali pirates has great advance buzz at Sony. Plus, as a former British journalist and filmmaker attracted to true stories, Greengrass sounds like the right director for Chicago 7 and was considered to helm it back in August 2008.
UPDATE: Paradigm has just confirmed Deadline’s scoop about Robert Bookman joining the agency from CAA. They’ve issued a release (below original story) and the internal memo that Sam Gores sent to his staff.
EXCLUSIVE: There has been a lot of agents moving around lately, but get ready for a shocker: longtime CAA agent Robert Bookman has just given notice that he’s joining Sam Gores’s Paradigm. Bookman, who becomes a senior agent in Paradigm’s Motion Picture and Television departments starting Monday, has been a stalwart agent for CAA for more than 20 years, brokering some of the biggest buck book to movie deals ever as the co-agent for such authors as Michael Crichton and Thomas Harris. Bookie, as he is known around Hollywood, is a classy guy with good taste whose potential exit has been in the wind before. When he was not made partner, it had been rumored that he might leave CAA to partner in a production company with his longtime client, writer/director Paul Greengrass.
EXCLUSIVE… UPDATE: Memphis, Paul Greengrass‘ film about the final days of Dr. Martin Luther King, is coming back around. Now, I hear that steps are underway to make Memphis Greengrass’ next directorial outing. I’ve heard that Veritas is in talks to finance with Wild Bunch. You might recall the picture was shelved after Universal Pictures dropped out, and Greengrass and producer Scott Rudin shelved it because it became too difficult to set up new financing and shoot the film so that it could be released during the MLK weekend holiday. Greengrass and Rudin moved on to make Captain Phillips, the Sony drama about the Somali pirate heist that stars Tom Hanks as Captain Richard Phillips.
The script depicts Dr. King’s final days as he struggled to organize a protest march on behalf of striking black municipal sanitation workers in Memphis, Tennessee, where he was slain. That storyline is juxtaposed with an intense manhunt for King’s assassin James Earl Ray, involving some of the federal authorities who, at Hoover’s direction, had dogged King’s every step with wiretaps and whispering campaigns before the civil rights leader’s death.
BREAKING: FilmNation Entertainment will handle international sales on Barca, a documentary that Paul Greengrass is directing about the rise of the FC Barcelona soccer team. Richard Brown will produce for Anonymous Content and John Carlin will …
EXCLUSIVE: Mark Romanek has emerged as frontrunner to direct The Lost Symbol, Sony Pictures’ third installment of the Dan Brown-penned thrillers focusing on symbologist Robert Langdon. After directing the global blockbusters The Da Vinci Code and Angels & Demons, Ron Howard this summer opted out of directing a third, preferring to produce with his Imagine Entertainment partner Brian Grazer. Grazer produced the first two films in the series with the late John Calley, who acquired the property before he left the Sony Pictures executive suite to become a producer.
Sony Pictures has been interviewing helmers for one of the more prominent open directing assignments. Romanek hasn’t got the job locked up yet, but I’ve heard negotiations should begin soon. Romanek, a top video director, made his feature helming debut on One Hour Photo, and most recently directed Never Let Me Go with Keira Knightley, Carey Mulligan and Andrew Garfield. Romanek has so far made mostly budget films. He nearly helmed a big one in The Wolfman but left weeks before production started in a dispute with Universal over budget and other creative disagreements.
Paul Greengrass In ‘Fear Index,’ Robert Zemeckis Out Of ‘Replay’ As He Takes ‘Flight’ With Denzel Washington
Back in June, Deadline revealed that Fox 2000 had acquired the Robert Harris thriller novel Fear Index, about a scientist who uses a revolutionary system of computer algorithms to trade on the volatility of the world’s financial markets. His hedge fund is wildly successful until he is targeted by an intruder who breaks into his home. At the time, I’d heard that Paul Greengrass was attached to direct, and his reps at CAA denied it. I wrote it anyway. Now, Harris has said in an interview for his soon to be published book that Greengrass is indeed going to direct and the filmmaker’s reps are now acknowledging it’s true. The novel will be published next month in the UK and January in the US. Chernin Entertainment’s Peter Chernin, Dylan Clark and Jenno Topping are the producers. and Harris is scripting it. Greengrass next directs the Somali pirate pic A Captain’s Duty with Tom Hanks starring for Sony Pictures.
Robert Zemeckis has officially dropped out of the Warner Bros drama Replay, and the studio is trying to put the Jason Smilovic-scripted film back together with another filmmaker. Zemeckis exited because he has finally committed to direct Denzel Washington in the Paramount thriller Flight.
Legendary Pictures has announced it has made a deal to collaborate with the estate of Jackie Robinson and his widow Rachel on a feature biopic about the Brooklyn Dodgers second baseman who broke Major League Baseball’s color line. Brian Helgeland will write the script and direct the film. Legendary chairman Thomas Tull will produce and Jon Jashni will be exec producer. Notably, Dick Cook, who has been quiet since leaving as Walt Disney Studios chairman, will be an exec producer on the film, which will be made under Legendary’s overall deal at Warner Bros. Cook is on the Legendary board and he and Tull have become close. They are also big baseball fans, which led to Cook involving himself in the picture.
Hollywood has long been interested in bringing Robinson’s story to the screen. Spike Lee once tried to direct a version with Denzel Washington in the lead role. And Robert Redford has for years tried to tackle the story from the vantage point of Branch Rickey, the Brooklyn Dodgers executive who signed Robinson and put him on the team. Redford has long wanted to play the role of Rickey. The project was stalled for years, though it recently got ink that it was resuscitated, mainly on the basis of Redford saying he still wanted to play the role, though there was no indication of who would fund it.
EXCLUSIVE: Universal Pictures has set Scott Rudin to produce Sinatra, the film Martin Scorsese will direct about the life of singer-actor Frank Sinatra. Rudin joins Mandalay’s Peter Guber and Cathy Schulman, who brought in the project to the studio almost two years ago after they secured life and music rights from Frank Sinatra Enterprises, which is a joint venture of the estate of Ol’ Blue Eyes and the Warner Music Group. Phil Alden Robinson had been the original writer, but I’m told they are looking for another scribe. Scorsese’s Sikelia is also producing as is Tina Sinatra.
Rudin, nominated twice in the Best Picture Oscar race this year for producing The Social Network and True Grit, produced the 1999 Scorsese-directed Bringing Out the Dead. Rudin’s currently producing the David Fincher-directed The Girl with the Dragon Tattoo, which Steve Zaillian adapted from the Stieg Larsson novel, and Extremely Loud and Incredibly Close, the Stephen Daldry-directed adaptation of Jonathan Safran Foer’s novel that stars Tom Hanks and Sandra Bullock. He is prepping at Paramount the Sacha Baron Cohen comedy The Dictator, and at Universal he’s got the Paul Greengrass-directed Martin Luther King Jr. assassination drama Memphis.