[youtube=http://www.youtube.com/watch?v=mgNJkq53l68&w=560&h=315]
On August 28, 1955, 14-year-old Emmett Till was savagely beaten and shot through the head in Money, Mississippi, all for the crime of speaking to a 21-year-old white woman. After a widely covered trial, his murderers were acquitted — leading to national indignation and helping to catalyze the civil rights movement.
Though the specifics of each case are vastly different, it’s easy to compare Till’s murder and its aftermath to the 2012 shooting of 17-year-old Trayvon Martin. Oprah Winfrey did that very thing during the Lee Daniels’ The Butler press junket, calling the killings “parallel” — and adding, “In my mind, [they’re the] same thing.”
At the same time, Winfrey — who stars in Lee Daniels’ The Butler, a film set partially during the height of the civil rights movement — was careful to say that those outraged by Martin’s death and George Zimmerman being found not guilty shouldn’t dwell in the past. “You can get stuck in that,” she said, “and not allow yourself to move forward and to see how far we’ve come.”
article by Hillary Busis via popwatch.ew.com
Posts published in “Movies”
2 Guns, a buddy cop comedy-thriller featuring Denzel Washington and Mark Wahlberg, was the top weekend film in U.S. and Canadian theaters, collecting $27.4 million for Universal Pictures. (CMCSA). A tale of undercover lawmen trying to catch a drug kingpin, 2 Guns taps the bickering buddy movie formula successfully mined by Hollywood in films such as Lethal Weapon and marks the seventh No. 1 weekend opening this year for Universal, part of Comcast Corp. “The chemistry is obvious in the film,” Nikki Rocco, president of distribution for Universal Pictures, said in an interview. “Hopefully, it finds its own life in a marketplace that’s very crowded.”
Washington plays Drug Enforcement Administration agent Bobby Trench, while Wahlberg is cast as U.S. naval intelligence officer Marcus Stigman. The two reluctantly work undercover as members of a narcotics syndicate. When their attempt to infiltrate a Mexican drug cartel goes haywire, they are disavowed by their superiors and can only count on each other. “This is a business where being No. 1 is always wonderful,” Rocco said. “It’s nice to be on a roll.”
Returning film The Wolverine was second with $21.7 million and The Smurfs 2, a family feature combining animation with live action, opened with $18.2 million in receipts for Sony Corp. (6758) to place third.
article via bloomberg.com
Denzel Washington will star opposite Diahann Carroll in the Broadway revival of Lorraine Hansberry’s classic A Raisin In The Sun. Previews begin March 8, 2014, with opening night on April 3, 2014 at the Barrymore Theatre where the original production opened 55 years ago. Set on Chicago’s South Side, A Raisin In The Sun revolves around the divergent dreams and conflicts within three generations of the Younger family: son Walter Lee (Washington), his wife Ruth (Sophie Okonedo), his sister Beneatha (Anika Noni Rose), his son Travis and matriarch Lena, called Mama (Carroll). Rounding out the cast are Stephen Tyrone Williams, Jason Dirden, and Stephen McKinley Henderson. Washington won a Best Actor Tony for his performance in 2010′s Fences. The Kenny Leon-directed A Raisin In The Sun is a limited engagement, running 14 weeks only through June 15, 2014. Washington currently can be seen in Universal’s action thriller 2 Guns with Mark Wahlberg which opens today.
article via deadline.com
Vanity Fair Magazine released its International Best Dressed List for 2013 yesterday and for the first time, Django Unchained and Scandal actress Kerry Washington was the top honoree. Washington was in good company, as the list also included perennial style icon and new mom Princess Kate of England, pop mavens Beyoncé and Justin Timberlake and NBA Champion and MVP LeBron James, among others. To see the full list and more photos, click here.
article by Lori Lakin Hutcherson
Days after it was revealed Steven Soderbergh donated $10,000 to Spike Lee‘s Kickstarter campaign, the Magic Mike and Behind the Candelabra director explained why he offered such massive financial support.
Lee was one of three independent American filmmakers, with David Lynch and Jim Jarmusch, who inspired Soderbergh in the ’80s, a time in which he otherwise “felt like the sense of what was possible had shrunk,” Soderbergh wrote on Lee’s Kickstarter page.
“These were distinctive new voices, and the freedom (and success) they represented was liberating and energizing; these were shoulders I would try to stand on, that I would be proud to stand on,” he explains.
Soderbergh continues to praise Lee, writing: “Certain filmmakers exist outside the traditional parameters of criticism; their point of view and body of work make discussions about individual films interesting but ultimately irrelevant because each project is merely a chapter in a very long book that must (and will) be acknowledged and appreciated for its breadth, ambition, and contributions to the art of cinema. For me, Spike Lee is one of those filmmakers. He is a totally unique figure in American cinema, and he’s always gone his own way and spoken his mind (even when the commercial stakes were high), qualities which are in short supply in the film business.”
In closing, Soderbergh reiterates that he’s supporting a friend whose films he admires and who paved the way for his own success. He also notes that he’s hoping — through the Knicks game he’s been promised for his pledge — to get to know Lee better as a person. Lee’s Kickstarter for a movie that he describes as a “funny,” “sexy” and “bloody” picture has so far raised $403,546 of its $1.25 million goal from 1,989 backers (including 21 at the $10,000 maximum level). There are 22 days left for the campaign to meet its fundraising target.
article by Hilary Lewis via hollywoodreporter.com
“These were distinctive new voices, and the freedom (and success) they represented was liberating and energizing; these were shoulders I would try to stand on, that I would be proud to stand on,” he explains.
Soderbergh continues to praise Lee, writing: “Certain filmmakers exist outside the traditional parameters of criticism; their point of view and body of work make discussions about individual films interesting but ultimately irrelevant because each project is merely a chapter in a very long book that must (and will) be acknowledged and appreciated for its breadth, ambition, and contributions to the art of cinema. For me, Spike Lee is one of those filmmakers. He is a totally unique figure in American cinema, and he’s always gone his own way and spoken his mind (even when the commercial stakes were high), qualities which are in short supply in the film business.”
In closing, Soderbergh reiterates that he’s supporting a friend whose films he admires and who paved the way for his own success. He also notes that he’s hoping — through the Knicks game he’s been promised for his pledge — to get to know Lee better as a person. Lee’s Kickstarter for a movie that he describes as a “funny,” “sexy” and “bloody” picture has so far raised $403,546 of its $1.25 million goal from 1,989 backers (including 21 at the $10,000 maximum level). There are 22 days left for the campaign to meet its fundraising target.
article by Hilary Lewis via hollywoodreporter.com
According to Variety.com, Cheryl Boone Isaacs has become the Academy of Motion Picture Arts & Sciences first African-American president. After a lengthy career behind the scenes, the Academy Board of Governors chose Isaacs, who served as first vice president of the Academy board. Isaacs, who has held every other Academy board officer position and also produced last year’s Governor’s Awards, also becomes the first female Academy president since Fay Kanin in 1979-83 and third overall, counting the two-month tenure of Bette Davis in 1941.
Rob Friedman, the co-chairman of Lionsgate Motion Picture Group and most recently treasurer of the board, was perceived as the other top candidate for the post. Voting totals are not released by the Academy. Academy board members serve three-year terms, while officers serve one-year terms, with a maximum of four consecutive terms in any one office, including president.
The president role was once a ceremonial title. But in recent years the role has taken on greater responsibility, as each worked with the Academy’s salaried staff, including CEO Dawn Hudson and Ric Robertson to further diversity initiatives, while also trying to move the Academy Museum of Motion Pictures, scheduled to open in 2017, closer to reality. They also dealt with questions of electronic voting, changes in Oscar rules (such as more than five best-picture contenders) and a restructuring of the staff.
article by Jon Weisman with additional reporting by Lori Lakin Hutcherson
FRUITVALE STATION Cast: Michael B. Jordan (Oscar Grant), Octavia Spencer (Wanda), Melonie Diaz (Sophina), Ariana Neal (Tatiana), Kevin Durand (Officer Caruso), Chad Michael Murray (Officer Ingram), Ahna O’Reilly (Katie) Written & Directed by: Ryan Coogler Rated: R The Weinstein Co.
I intended to write this review two weeks ago, when I saw Fruitvale Station in limited release. Two things occurred to prevent that – one ordinary: my babysitter cancelled, so bye bye writing time – and one extraordinary: George Zimmerman was found not guilty of killing Trayvon Martin the very next day.
In the wake of the national outrage and protests and vigils, I thought my review of Fruitvale Station couldn’t help but be greatly affected. But as the film goes into wide release on 1,064 screens today, I realize I feel exactly the same about the film as I did two Fridays ago. Put plainly, Fruitvale Station is the most riveting, artfully-told, written, directed and acted movie of the year, it should win 2013 Academy Awards for Best Picture, Best Actor, and Best Director, and every adult living should immediately make all efforts to see this movie and receive a mind-and-heart-altering reminder that every single person alive, no matter what sex, creed, color or age, has humanity that deserves recognition and respect.
The basics of the story are probably already known to most: Bay Area-based writer/director Ryan Coogler was deeply moved by the tragic shooting of fellow Bay Area native Oscar Grant, a 22 year-old black man who was killed at the Fruitvale BART Station by police on New Year’s Day 2009. Coogler wanted to show what Grant’s last day of life was like, so people would see not just a victim or a thug, but who and how Oscar really was. And not just the good or misunderstood parts of Oscar, but also the bad, the funny, the sweet and the ugly – and know he was a vibrant, complex being who in no way deserved the callous and all-too-common fate he received.
The movie opens stunningly with real cellphone footage of Oscar Grant’s murder. If you’ve never seen it before (which I hadn’t), it is gutting. I involuntarily burst into tears – I was just so sad and angry and shocked at the injustice – it took a lot to pull myself back into the movie and get to know Oscar in life as viscerally as I did in death. As much as it smarts, Coogler’s choice to start the film this way is brilliant, because it communicates powerfully the underlying truth of what’s to unfold – you may be watching a movie, but do not ever forget – THIS WAS REAL.
Fruitvale then segues into off-screen dialogue between Oscar (Michael B. Jordan) and his girlfriend Sophina (Melonie Diaz) much earlier that morning. She is upset with Oscar because of an infidelity he tries in vain to explain away. As they get their young daughter Tatiana (Ariana Neal) ready for school, we learn Oscar is a sweet, loving and permissive father (he sneaks his daughter the extra snack her mom said she couldn’t have) who sells dope sometimes to make ends meet.
As we continue with Oscar through the challenges and banality of his morning (stretching the gas in his tank before filling up, texting his Mom “Happy Birthday”, dropping his girlfriend off at work, picking up food for his mom’s party, worrying about rent) we learn he’s been in and out of prison several times and is struggling to get it together. Oscar, mind-blowingly portrayed and embodied by Jordan, comes off as equal parts charismatic, tough, caring and desperate. In one moment he is helping a customer in the deli where he worked figure out how to cook fish by putting her on the phone with his Grandma Bonnie; the next he is defiantly demanding/begging his ex-boss to rehire him. When he doesn’t get his job back, Oscar immediately plays it off with a co-worker, lies with a smile, and acts like it’s all good.
The code switching Oscar goes through in this one day – the subtly different-yet-specific ways he behaves and speaks with his daughter, his mom, his sister, girlfriend, his homies, his boss – is, I think, the key revelation of the film, and why this story is connecting with audiences everywhere. Oscar Grant, the young, black, ex-convict drug dealer is, surprisingly, an everyperson, dealing with the same contradictory bundle of human dynamics, dramas and relationships we all do.
When Oscar makes a pivotal choice to change his life mid-way through the film (after reflecting on time he spent in jail), he drops his tough-guy mask and confesses to Sophina that he lost his day job and has taken himself out of the dope game. When Sophina starts to go in on him (understandably – it’s clear she’s been through a lot with him), her strength and humanity shine through when a few beats later she forgives and supports him despite the immediate hardship his actions are creating. Diaz is perfect in this underplayed moment – Sophina, more than anybody, sees the vulnerable Oscar and whether or not she fully believes in his potential, she loves and respects him enough to support him on his stilted journey towards betterment.
A lot more happens in the movie before we get to the fateful moment on the BART platform at Fruitvale on New Year’s Eve 2008/New Year’s Day 2009, but truly, instead of reading a summary of it here, you should just go see it for yourself. Do let me say though that Octavia Spencer, who plays Oscar’s mother Wanda… well, what she does in the movie is beyond deserving another Oscar (which, of course, she does). She should open up acting clinics and teach other actors how real people actually behave in extreme circumstances. If the viewers I was in the theatre with weren’t crying before, the way Spencer reacts to the news of Oscar’s death and her subsequent viewing of his body in the hospital caused an all-out, audible sob fest.
From beginning to end, the whole movie feels authentic, without a shred of manipulation. Though there is definite filmmaking throughout Fruitvale Station and filmic choices being made, they are seamless and only enhance the raw power and poignancy of the story. Even at a relatively short running time of 1 hour 30 minutes, I came out of the theater feeling as if I’d lived another life. And I did. I lived Oscar Grant’s life and was deeply, sorely sad it was gone. And the great thing – I wasn’t alone. The whole audience felt it for 90 minutes – black, white, male, female, young, old – we all felt like we were Oscar Grant.
Warner Bros Turns To Franklin Leonard's "The Black List" To Find Screenwriters In Under-Served Demos
EXCLUSIVE: After using The Black List as a way to scout screenplays worth buying, Warner Bros has made the first alliance between a major studio and Franklin Leonard‘s screenplay evaluation service. The goal is to give opportunities to scribes who might not otherwise get a chance. Using the diversity guidelines from the WGA‘s Executive Summary that shows how far out of the mainstream minorities, women and some other groups are in the makeup of working screenwriters, The Black List will recommend a short list of five writers every six months who come from what the WGA identified as an under-served scribe demographic.
One of those writers will be offered by Warner Bros a two-step blind script deal worth around $93,000. The initial plan is for this program to run for two years, which will mean deals for four writers will get a foot in the door. The first short list of writers will be turned over to Warner Bros around Thanksgiving.
“For a black kid from Georgia, I’m acutely aware of the access issues the industry struggles with, and I’m excited to be part of a first step toward addressing this,” Leonard told me. “I’m optimstic that other organizations in the industry will access this also, both for the purposes of diversity, but also for the benefit of their bottom lines.” Leonard said the program will target “primarily writers of color and women, but also older writers as well, with pre and early baby boomers falling into that category.”
The aspirants can’t have made more than $25,000 from screenwriting fees over their careers, which eliminates scribes who haven’t sold a script in a good long time. “The intent here is to find new voices, and that ceiling is similar to the one used by the Nicholl Fellowship,” said Leonard, who added the relationship with Warner Bros is non-exclusive and came out of an overture from worldwide feature film production head Greg Silverman. The studio has had luck discovering talent through The Black List; most recently it gave a blind script deal to San Francisco ad exec Richard Cordiner after reading his script about the making of the film Jaws.
Leonard is a former exec at Universal, Mirage and most recently Overbrook before he left last fall to focus full time on The Black List with partner Dino Sijamic. The service serves two roles: annually, it canvases 500 development execs to cull a Black List of the best unmade screenplays. It makes money through its team of 40 readers who evaluated about 5500 scripts in the last nine months, and features the best of those submissions in a weekly report that is circulated to 2000 industry professionals who subscribe. WGA members can list information about their scripts free of charge, and outsiders pay $25 to have their scripts uploaded. A critical evaluation of the script costs $50. Those participating in that process can opt in to the Warner Bros. program, with the information accessible through Blcklst.com.
article by Mike Fleming Jr. via Deadline.com
“For a black kid from Georgia, I’m acutely aware of the access issues the industry struggles with, and I’m excited to be part of a first step toward addressing this,” Leonard told me. “I’m optimstic that other organizations in the industry will access this also, both for the purposes of diversity, but also for the benefit of their bottom lines.” Leonard said the program will target “primarily writers of color and women, but also older writers as well, with pre and early baby boomers falling into that category.”The aspirants can’t have made more than $25,000 from screenwriting fees over their careers, which eliminates scribes who haven’t sold a script in a good long time. “The intent here is to find new voices, and that ceiling is similar to the one used by the Nicholl Fellowship,” said Leonard, who added the relationship with Warner Bros is non-exclusive and came out of an overture from worldwide feature film production head Greg Silverman. The studio has had luck discovering talent through The Black List; most recently it gave a blind script deal to San Francisco ad exec Richard Cordiner after reading his script about the making of the film Jaws.
Leonard is a former exec at Universal, Mirage and most recently Overbrook before he left last fall to focus full time on The Black List with partner Dino Sijamic. The service serves two roles: annually, it canvases 500 development execs to cull a Black List of the best unmade screenplays. It makes money through its team of 40 readers who evaluated about 5500 scripts in the last nine months, and features the best of those submissions in a weekly report that is circulated to 2000 industry professionals who subscribe. WGA members can list information about their scripts free of charge, and outsiders pay $25 to have their scripts uploaded. A critical evaluation of the script costs $50. Those participating in that process can opt in to the Warner Bros. program, with the information accessible through Blcklst.com.
article by Mike Fleming Jr. via Deadline.com
It seems like it’s been a long time coming, but we finally have the first official look at André Benjamin (aka André 3000 from Outkast) as Jimi Hendrix in All is By My Side. Benjamin won’t be kissing the sky in this biopic. Instead, he’ll be covering songs by other artists like Muddy Waters and the Beatles. Experience Hendrix LLC announced that the estate wouldn’t license the rock star’s music “without its full participation.”
However, producer Sean McKittrick told Rolling Stone that the movie traces Hendrix’s life before the 1967 release of the late rock star’s debut album, “Are You Experienced.” “This is the story of Jimi being discovered as a backup musician and how he went to London and became Jimi Hendrix,” McKittrick explained. In any case, we’ll have to wait a few more months to see or hear how Benjamin’s performance goes over. The film will have its world premiere at the Toronto International Film Festival in September, where writer/director John Ridley, who also penned the adapted screenplay for Steve McQueen’s historical drama 12 Years a Slave, will be flying high.
article via news.moviefone.com
After over-performing at the box office in the past two weekends and receiving stellar reviews since its premiere at Sundance, Fruitvale Station director Ryan Coogler and actor Michael B. Jordan may now be looking to move into the boxing ring for their next project. MGM has set Coogler to direct, and is in early talks with Jordan to star in, Creed, the latest installment in the Rocky franchise that would focus on Apollo Creed’s grandson.
Sylvester Stallone is on board to reprise his role as Rocky Balboa, with Coogler penning the script along with Aaron Covington. Deadline Hollywood broke the news.
The story would follow Creed’s grandson, who has grown up reaping the spoils of all his grandfather’s winnings and is forbidden by his family to enter the world of boxing. Against his family’s wishes, he is drawn to boxing and seeks out Balboa to teach him how to fight and follow in his grandfather’s footsteps. Irwin Winkler and Robert Chartoff, who produced the original film, will produce with Stallone and Kevin King.
article by Justin Kroll via Variety.com
Sylvester Stallone is on board to reprise his role as Rocky Balboa, with Coogler penning the script along with Aaron Covington. Deadline Hollywood broke the news.
The story would follow Creed’s grandson, who has grown up reaping the spoils of all his grandfather’s winnings and is forbidden by his family to enter the world of boxing. Against his family’s wishes, he is drawn to boxing and seeks out Balboa to teach him how to fight and follow in his grandfather’s footsteps. Irwin Winkler and Robert Chartoff, who produced the original film, will produce with Stallone and Kevin King.
article by Justin Kroll via Variety.com