After unconfirmed rumors from Showbiz411, the man himself, Denzel Washington has confirmed that he is indeed returning toBroadway in 2014 to star in a revival of Lorraine Hansberry’s A Raisin in the Sun, to be directed by Kenny Leon. Washington confirmed the rumors last night at the New York premiere of his action-comedy 2 Guns, the Wall Street Journalreported. Although he didn’t say whether he’ll be joined by Sophie Okenedo, Anika Noni Rose and Diahann Carroll, as Showbiz411 also previously reported. But since they got Denzel’s involvement right (as well as the play, director and producer), I’d assume that they are also correct on the casting of the three actresses. Denzel didn’t tell the WSJ what role he’ll be playing in the production, but, really, who else would it be but the lead protagonist, Walter Lee Younger? Certainly notJoseph Asagai nor George Murchison. Besides, I don’t see Denzel returning to Broadway to take a supporting role. Assuming Sophie Okenedo and Anika Noni Rose are indeed attached, they’d likely play Walter Younger’s sister (Beneatha) and wife (Ruth). Showbiz411 pegged Diahann Carroll as the family matriarch, Lena (“mama”). Scott Rudin will produce.
Rapper and Chicago native, Kanye West, has plans to give back to troubled youth in his hometown this summer with the upcoming launch of the “Got Bars” music writing and production program. In August, West’s nonprofit organization, Donda’s House — founded in honor of his late mother Dr. Donda West — and the ARK of St. Sabina community center, will kickoff the 10-week course open to youth ages 15 to 24. The “Got Bars” program aims to educate participants on how to write and record their own music and in turn help them to develop problem-solving skills. The program will also teach youth about the benefits of eating well, working out and other life skills. West credits his mother’s passion to teaching as the inspiration behind the program. “My mom spent her life as an educator and I am happy Donda’s House can pick up the torch and honor her life’s mission,” West said in a statement early last week. The Chi-town rapper has chosen Che “Rhymefest” Smith, co-founder and assistant director of Donda’s House to spearhead the program, along with his wife Donnie Smith. Rhymefest will oversee the music and production aspects of the 10-week course, while his wife Donnie, an English teacher, will serve as executive director. “I am so happy to launch “Got Bars” to honor Kanye West’s mother’s memory and to fulfill one of my Alder manic campaign goals,” said Rhymefest in a statement. “Got Bars” will change our youth musically, get them healthy and keep them busy in a creative, peaceful environment.” Donda’s House will eventually release an EP featuring songs from the program’s participants. Applications for “Got Bars?” will be accepted until Friday, August 2. For more information on the program, visit the Donda’s House website. article by Hayat Mohamed via newsone.com
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.
Review by Lori Lakin Hutcherson 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.
Franklin Leonard 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
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
Lacking any serious new competition, Jay Z’s “Magna Carta Holy Grail” held onto the No. 1 post on the U.S. album chart last week despite a large erosion in sales.
The rapper’s Roc Nation collection shifted 129,000 units, according to Nielsen SoundScan figures for the week ending July 21. Numbers reflected a 76% drop-off from the set’s debut-week sales of 528,000, which was the year’s second-biggest opening to date. Singer-songwriter Sara Bareilles’ “The Blessed Unrest” (Epic) had to settle for No. 2, arriving with first-week sales of 68,000. Her last album, “Kaleidoscope Heart,” reached No. 1 with a 90,000-unit tally in 2010. RELATED STORIES:
In at No. 3 was the 24th installment of Razor & Tie’s long-running “Kidz Bop” series, which turned 62,000 copies. The current package contains moppet-friendly versions of hits by the Lumineers, Macklemore & Ryan Lewis, Justin Timberlake and others. Florida rapper Ace Hood attained his best chart position to date with “Trials & Tribulations” (Cash Money), which ascended to No. 4 with 34,000 shifted. His previous personal best came in 2011 with “Blood, Sweat & Tears,” which peaked at No. 8 behind a 26,000-unit frame. Holdovers for the week included Florida Georgia Line’s “Here’s to the Good Times” (No. 5, 31,000 sold, off 5%), Imagine Dragons’ “Night Visions” (No. 6, 28,000, down 15%), J. Cole’s “Born Sinner” (No. 7, 27,000, off 32%) and Justin Timberlake’s “The 20/20 Experience” (No. 9, 24,000, up 33%). Timberlake’s album sold just 24 units more than Simpson’s debuting collection, according to SoundScan. article by Christopher Morris via Variety.com
“Fruitvale Station” Director Ryan Coogler and Actor Michael B. Jordan (Bryan Bedder/Getty Images)
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
The Weinstein Co. has unveiled the first posters for Lee Daniels’ The Butler, four days after it was forced to change the title from The Butler. Both posters show a white-gloved Forest Whitaker along with the new title (the poster above evoking the famous photo from the 1968 Olympics of Tommie Smith and John Carlos giving the black power salute during their medal ceremony). TWC is releasing the film on Aug. 16. The Motion Pictures Assn. of America (MPAA) ruled Friday that TWC could keep The Butler”as part of the title, but would have to change its marketing materials and pay $400,000 in fines for violating a July 2 finding that the use of The Butler as the title had violated MPAA rules because Warner Bros. owns rights to The Butler. The ruling also required that, should TWC use Lee Daniels’ The Butler as the title, the “Lee Daniels” part of title had to be 75% the size of “The Butler.” Lee Daniels’ The Butler is centered on African-American butler Eugene Allen, who worked in the White House during eight presidencies throughout the civil rights era. The film also stars Oprah Winfrey. TWC’s fine of $25,000 a day, dating back to July 2, is based on violating the initial ruling. The fine will increase to $50,000 a day if the studio fails to issue new digital materials (trailers, TV ads) by Thursday and new print materials by Aug. 2. article by Dave McNary via Variety.com; additions by Lori Lakin Hutcherson
DJ Just Blaze Historic hip-hop imprint Priority Records has been given a new lease on life, this time as a producer-centric electronic music and progressive urban music label. A joint venture of Insurgency Music and Capitol Music Group, the refurbished label will be headed by Insurgency co-founder Michael Cohen, the two companies announced July 22. Operating out of the Capitol Records building in Hollywood, the new-look Priority will officially launch in August with single “Higher,” a collaboration between hip-hop beatmaker Just Blaze, “Harlem Shake” creator Baauer and Jay Z. As Cohen explained in a statement: “We are looking to establish the new Priority as a home for producers. The emergence of the producer as an artist and brand within the global electronic music scene and beyond has heralded a paradigm shift in the way music is created, discovered and spread. We are firm believers in nurturing artists and scenes that develop in the underground, and we intend to infuse the label with the most progressive artists we can find, wherever they may be.” Founded in 1985 in Los Angeles, Priority first hit paydirt with novelty releases from the California Raisins, but it was as a hip-hop imprint that it truly made its mark. The label released such landmark gangsta rap albums as N.W.A.’s “Straight Outta Compton” and Ice Cube’s “AmeriKKKa’s Most Wanted,” and later forged a hugely successful alliance with Master P’s No Limit Records in the mid-1990s. Priority pacted with EMI in the 1990s and was eventually merged into Capitol. Priority releases will be distributed by Caroline in the U.S., with parent company Universal Music Group handling international. via Priority Records Relaunched as Electronic Music Label | Variety
Spike Lee has turned to Kickstarter to raise $1.25 million in funds for his next film. The filmmaker said the project will focus on human beings who are addicted to blood. “Funny, sexy, and bloody (and it’s not “Blacula”),” he added. Lee appealed to potential supporters by touting the film as counter to the current high-priced tentpoles. via Spike Lee Joins Kickstarter: Seeks $1.25 Million | Variety
The ruling also required that, should TWC use Lee Daniels’ The Butler as the title, the “Lee Daniels” part of title had to be 75% the size of “The Butler.” Lee Daniels’ The Butler is centered on African-American butler Eugene Allen, who worked in the White House during eight presidencies throughout the civil rights era. The film also stars Oprah Winfrey. 
Founded in 1985 in Los Angeles, Priority first hit paydirt with novelty releases from the California Raisins, but it was as a hip-hop imprint that it truly made its mark. The label released such landmark gangsta rap albums as N.W.A.’s “Straight Outta Compton” and Ice Cube’s “AmeriKKKa’s Most Wanted,” and later forged a hugely successful alliance with Master P’s No Limit Records in the mid-1990s. Priority pacted with EMI in the 1990s and was eventually merged into Capitol.