Sunday, January 31, 2010

Anti-Apartheid Writer Penning DreamWorks MLK Biopic

Press release from Business Wire:

Oscar Winner Ronald Harwood to Write Martin Luther King, Jr. Story for DreamWorks Studios


LOS ANGELES--(BUSINESS WIRE)--Acclaimed playwright and Academy Award-winning screenwriter Ronald Harwood will write the screenplay for DreamWorks Studios’ Martin Luther King, Jr. bio-pic, it was announced today by Mark Sourian and Holly Bario, Co-Presidents of Production for the studio. As previously announced, Steven Spielberg, Suzanne de Passe and Madison Jones will produce the film about the renowned civil rights leader.

“It is so gratifying for all of us at DreamWorks Studios to have a writer as respected and honored as Ronald Harwood to write the screenplay for our Martin Luther King film”

The DreamWorks film will be the first theatrical motion picture to be authorized by The King Estate to utilize the intellectual property of Dr. King to create the definitive portrait of his life. Dr. King copyrighted his speeches, books, and famous works during his lifetime.

“It is so gratifying for all of us at DreamWorks Studios to have a writer as respected and honored as Ronald Harwood to write the screenplay for our Martin Luther King film,” said Mark Sourian and Holly Bario. “His record of achievements makes him particularly suited to portraying this deeply personal story against the background of such a turbulent time.”

One of the world's most critically celebrated contemporary playwrights and screenwriters, the Oscar-winning Harwood brings to this much-anticipated project a career-long fascination with themes surrounding race, conscience and moral choices. Harwood is equally renowned for his revealing recreations of history, as in his Academy Award-winning screenplay for "The Pianist." He also received Oscar nominations for The Dresser, which lifted the curtain on backstage life in a World War II theatre, and for adapting the non-fiction tale of human transcendence, The Diving Bell and the Butterfly. A native of South Africa, he has written extensively about apartheid, including the films Mandela, written while the future South African leader was still in prison, and an adaptation of Alan Paton's powerful classic, Cry The Beloved Country. He has also penned two anti-apartheid novels and two anti-apartheid plays (Tramway Road, Another Time.)

Harwood's diverse screen work, which often has simultaneously brought the past to life and enduring issues of human responsibility to the fore, further includes the Soviet gulag drama One Day in the Life of Ivan Denisovich; Taking Sides, the screen adaptation of his play about a conductor in Nazi Germany; and the W. Somerset Maugham story of 1930s revenge, Being Julia. These themes were also at the heart of his 2008 stage revival of "Taking Sides," which was paired with his newest play, "Collaboration," about the conduct of composer Richard Strauss during the Third Reich, in a popular and acclaimed run in London's West End.

Harwood says of his approach to Dr. King's life and impact: "I will not say anything about my approach to this screenplay except to say what I always say: 'I will do my utmost to be true to truth.'"

Martin Luther King, Jr. was born in Atlanta, Georgia in 1929. He became a civil rights activist early in his career as a pastor. He led the Montgomery bus boycott in 1955, and helped found the Southern Christian Leadership Conference in 1957. His pioneering efforts to deliver racial equality through civil disobedience and other non-violent means led to the March on Washington in 1963, at which he delivered his renowned “I Have a Dream” speech. In 1964 he became the youngest person to receive the Nobel Peace Prize for his work to end racial segregation and racial discrimination. He was posthumously awarded the Presidential Medal of Freedom in 1977 and the Congressional Gold Medal in 2004. Dr. King was assassinated in April 1968 in Memphis, Tennessee at the age of 39.

About DreamWorks Studios:
DreamWorks Studios (www.dreamworksstudios.com) is a motion picture company led by Steven Spielberg and Stacey Snider in partnership with The Reliance Anil Dhirubhai Ambani Group. The new company is a continuation of DreamWorks Studios which was formed in 1994 by Steven Spielberg, Jeffrey Katzenberg, and David Geffen. The company expects to put into production 5 to 6 films per year.

DreamWorks Studios can be found on Twitter at http://twitter.com/dw_studios. [END]

Avatar Beats Angry Mel Gibson Flick at Weekend Box Office

Box Office Estimates (U.S.) for the weekend of January 29 - 31, 2010

1 Avatar 20th Century Fox $30,000,000

2 Edge of Darkness Warner Bros. Pictures Distribution $17,120,000

3 When in Rome Walt Disney Studios Distribution $12,065,000

4 Tooth Fairy 20th Century Fox Distribution $10,000,000

5 The Book of Eli Warner Bros. Pictures Distribution $8,770,000

6 Legion Sony Pictures Releasing $6,800,000

7 The Lovely Bones Paramount Pictures $4,735,000

8 Sherlock Holmes Warner Bros. Pictures Distribution $4,510,000

9 Alvin and the Chipmunks: The Squeakquel 20th Century Fox Distribution $4,000,000

10 It's Complicated Universal Pictures $3,720,000 [END]

Go to Box Office Mojo report for more details.

Review: Hughes Brothers Made a Documentary Classic with "American Pimp"

TRASH IN MY EYE No. 25 (of 2003) by Leroy Douresseaux

American Pimp (1999)
Running time: 87 minutes; MPAA – R for pervasive sexual content including dialogue, strong language, and some drug related material
DIRECTORS: The Hughes Brothers (Allen and Albert)
PRODUCERS: Kevin J. Messick and the Hughes Brothers.
CINEMATOGRAPHER: Albert Hughes
EDITOR: Doug Pray with Dan Lebental
Black Reel Awards nominee

DOCUMENTARY

The Hughes brothers are perhaps the most politically incorrect African American filmmakers as seen in their work, Menace II Society and Dead Presidents. They solidify their positions as the infante terribles of “black cinema” with their documentary film, American Pimp. It’s about the pimps, men (mostly black men in this film) who sell the bodies of women to other men for sexual intercourse.

In this study of “pimpdom,” street pimps discuss their lives and work: getting started, influences, technique, their style, handling their ho’s (whores, prostitutes), making money, pimp philosophy or their personal philosophy. Listening to the pimps, the viewers might get the idea that the Hughes just let the pimps take control of the film. The brothers do allow them total freedom to express themselves, and that’s what makes the film so bracing. From one pimp after another, the viewer gets a wall of information dressed in slang, profanity, and politically incorrect speech. It’s like the Hughes gave them the ultimate freedom in which to sell themselves, their lives, and their ideology.

Still, the Hughes control the tone of this film. They use film footage to illustrate some myths about pimps and prostitution, and they include a lot of personal photographs from the “archives” of the pimps. The Hughes frequently reference blaxtiploitation films, and for many of the pimps, so-called black exploitation films are how-to-manuals for pimps, and for some, maybe the films merge to become some kind of holy text. The Hughes also use the camera to really give the viewer a sense of the environment of the pimps, or players, as they like to call themselves. Bringing in the pimps’ surroundings gives the film an ambience so that the movie is more than just talking heads.

This film will offend many viewers. It’s non-judgmental when it comes to the pimps, and the Hughes really allow the pimps to by hyper verbal, to speak their minds even in the foulest terms. The filmmakers don’t seek to judge them; they leave that to the audience. American Pimp is a document about how the pimps see themselves, not really about how others see them, although the film features many ho’s talking about pimps and, to a lesser extent, their own lives.

I really like this movie, and I’ve seen it several times. I didn’t think I’d like it. Sometimes I laugh, and sometimes I find some of the material to be pretty rank. However, I was kind of sad when it ended. I was really curious about a lot of these men’s futures. I think most people who really like documentaries will be fascinated and, maybe, repulsed by this, but I think American Pimp is a testament to the power of film to communicate everything from the broadest cultures to the smallest, ugly corners of human life, both of which have been with us forever. You might not like that this film exists because you think it “glorifies” pimps, but you can’t deny the blunt force of its story.

8 of 10
A

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Sam Worthington to Play Dracula

Latino Review first reported and Entertainment Weekly confirmed it; Sam Worthington is negogiating with Universal Pictures to star in the planned-2011 tent poll movie, "Dracula: Year Zero."  Directed by Alex Proyas (Dark City; I, Robot), the film traces Dracula's roots.

I love me some Sam Worthington, who got really hot this past year because of Terminator: Salvation and (of course) Avatar.  But my initial reaction is that this Dracula movie is a joke.  I have a feeling that this will be in the vein of Van Helsing, which was a loud, obnoxious, mediocre movie.

Kathryn Bigelow Makes History; Oh Snap!

Kathryn Bigelow made history last night by becoming the first woman to win the Directors Guild of America Award for Outstanding Directorial Achievement in Feature Film, for The Hurt Locker.  Obviously, a woman winning isn't the only shocker.  Bigelow won the award intead of James Cameron for his behemoth hit, Avatar.  Cameron had momentum after winning a Golden Globe for directing Avatar just two weeks ago.

Since the DGA Awards began in 1948, only six times has the DGA winner for feature film directing not gone on to win the Oscar for Best Director.  The last time this happened was in 2002 when Rob Marshall won the DGA Award for Chicago, but Roman Polanski won the Oscar for The Pianist.

Here's the press release from the DGA for last night's awards:

Press release from the Directors Guild of America:

Kathryn Bigelow wins DGA Feature Film Award for The Hurt Locker. Other winners of 2009 DGA Awards announced. (January 31, 2010)

LOS ANGELES, CA: The winners of the 2009 Directors Guild of America Outstanding Directorial Achievement Awards and the recipients of the Guild's 2010 Career Achievement Awards were announced tonight during the 62nd Annual DGA Awards Dinner at the Hyatt Regency Century Plaza in Los Angeles . Kathryn Bigelow won the DGA's Outstanding Directorial Achievement in Feature Film for The Hurt Locker.

Following the welcome by DGA President Taylor Hackford to an audience of more than 1,600 guests, director/actor Carl Reiner hosted the ceremony.

Presenters included (in show order): Jon Cryer (Two and a Half Men), Julie Bowen (Modern Family), Jeremy Renner (The Hurt Locker), Lea Michele and Matthew Morrison (Glee), DGA Board Member Jesus Trevino, Cheryl Hines (Curb Your Enthusiasm), Zoe Saldana and Sam Worthington (Avatar), Jodie Foster (The Beaver), DGA Board Member Donald Petrie, Carey Mulligan (An Education), Gabourey Sidibe (Precious: Based on the Novel 'Push' by Sapphire), President and CEO of Disney Robert Iger, Christina Hendricks (Mad Men), Anna Kendrick and Jason Bateman (Up In The Air), Christoph Waltz (Inglourious Basterds), DGA Secretary/Treasurer Gil Cates, Robert Zemeckis (A Christmas Carol), Christopher Nolan (The Dark Knight), Brad Pitt (Inglourious Basterds), Jane Alexander (Terminator Salvation), DGA President Taylor Hackford, and 2008 DGA Feature Film Award winner Danny Boyle (Slumdog Millionaire).

The DGA's Award for Outstanding Directorial Achievement in Feature Film has traditionally served as a near-perfect barometer for the Academy Award for Best Director. Only six times since the DGA Award's inception in 1948 has the winner not gone on to receive the Academy Award for Best Director.

This is Ms. Bigelow's first DGA Feature Film Award. [END]

Here is a list of the 2010 Director's Guild of America winners:

Outstanding Directorial Achievement in Feature Film:
KATHRYN BIGELOW
The Hurt Locker (Summit Entertainment)

Ms. Bigelow's Directorial Team:
Unit Production Manager: Tony Mark
First Assistant Director: David Ticotin
First Assistant Director (Canadian Unit): Lee Cleary


DGA Award for Outstanding Direction of a Feature Documentary
Winner: Louie Psihoyos, "The Cove"

DGA Award for Outstanding Direction of a Movie for Television
Winner: Michael Sucsy, "Grey Gardens"

DGA Award for Outstanding Direction of a Dramatic Series Night
Winner: Lesli Linka Glatter, "Mad Men," "Guy Walks Into An Advertising Agency

DGA Award for Outstanding Direction of a Comedy Series
Winner: Jason Winer, "Modern Family," Pilot

DGA Award for Outstanding Direction of a Musical Variety program
Winner: Don Mischner, "We Are One: The Obama Inaugural Celebration"

DGA Award for Outstanding Direction of a Reality Program
Winner: Craig Borders, "Build It Bigger Season 3": "Hong Kong Bridge"

DGA Award for Outstanding Direction of a Daytime Serial
Winner: Christopher Goutman, "As The World Turns," "Once Upon A Time"

DGA Award for Outstanding Direction in Commercials
Winner: Tom Kuntz - Eyebrows, Cadbury; Tailor, Skittles; Scents For Gents, Old Spice; Tips, Career Builder

Saturday, January 30, 2010

Must be Able to Portray Caucasian

Paramount Pictures is casting the next Coen Brothers movie, entitled "True Grit."  They are looking for a 12 to 16 year old girl to play the scappy lead, Mattie.  Contact truegritcasting@gmail.com if you are able to play a white girl.  I got a press release about this movie, and there is an actual line in it that says, "Must be able to portray caucasian."

James Cameron Inspires George Lucas - A Bits & Bites Extra

According to Entertaiment Gather, George Lucas says that after seeing Avatar, its success with 3D technology has him thinking about at least one future Star Wars film in 3D.  Yea, me!

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