Entertainment One Films has acquired domestic distribution rights to “Decoding Annie Parker,” a film based on the eponymous cancer survivor and geneticist Mary-Claire King.
The movie stars Oscar nominee Samantha Morton as Parker and Oscar winner Helen Hunt as King. Aaron Paul, Rashida Jones, Bradley Whitford, Richard Schiff and Alice Eve also appear in the film, which marks the directorial debut of esteemed cinematographer Steven Bernstein.
eOne will release the movie in theaters and via VOD simultaneously next summer.
“Steven has created a gripping, poignant and inspiring film that champions the strength of the human spirit and beautifully captures both the emotional challenges and unexpected wit of those who are faced with hardship,” Dylan Wiley, eONe Films US’s SVP and general manager, said in a statement. “This is a story that will connect deeply with audiences, and we are happy to bring this film to theatres nationwide.”
eOne’s Sejin Croninger made the deal with UTA and executive producer Sidney Powell.
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ESPN has canceled a scheduled guest co-host appearance by Will Ferrell in character as Ron Burgundy from “Anchorman 2.”
Previously scheduled for Thursday’s “SportsCenter,” the appearance was pushed pending the disclosure of information surrounding possible charges against Jameis Winston.
“Ron Burgundy’s scheduled Thurs. appearance on @SportsCenter has been cancelled in light of the potential implications of any news from the State Attorney’s press conference in Fla.,” announced ESPN’s Director of Communications, David Scott, on Twitter.
“As of this time, there is no reschedule date for Ron Burgundy on @SportsCenter,” he continued.
The prosecutor heading the investigation of sexual assault allegations against the Florida State quarterback has set a 2 p.m. ET news conference to make an announcement on whether he will be charged in a Dec. 2012 incident.
The decision to pull Farrell’s appearance was mutual, an individual with knowledge of the decision told TheWrap.
Although Ferrell was set to appear at 6 p.m., ESPN expects its followup coverage to be extensive and both the network and movie studio Paramount agreed the appearance may be inappropriate.
In the incident that took place last year, a lawyer for Winston has suggested that the star quarterback and the accuser had consensual sex. But the family of the victim has accused the 19-year-old of rape.
Winston is a front-runner for the Heisman Trophy, awarded to the nation’s top college football player, and his team is in contention for the national championship and currently ranked No. 1.
Tony Maglio contributed to this report.
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In the unlikely event you haven’t heard any of 2013’s hit songs by such musical geniuses as Miley Cyrus, Robin Thicke, and Ke$ha, you’re in luck.
Two different music mixing masterminds have created year-end mashup videos that merge dozens of 2013’s hottest songs and music videos, and they’re both steaming up the YouTube charts.
Jordan Roseman, better known as DJ Earworm, has been a media favorite, earning stories and tweets from Spin Magazine and Billboard about this year’s edition of “United State of Pop,” which the DJ has been churning out since 2007.
But underdog Daniel Kim’s “Pop Danthology” has garnered almost twice the amount of YouTube views in the 24 hours since both mashups were posted. This is the fourth annual “Pop Danthology,” and it boasts a continuously upbeat rhythm and little repetition.
DJ Earworm’s approach goes for the sentimental, putting a heavy focus on somber lines from Rihanna and Mikky Ekko’s “Stay” and the smash Lorde hit “Royals,” from which the DJ draws this year’s mashup theme “Living the Fantasy.”
The “Pop Danthology” also includes the viral sensations “What Did the Fox Say?” by Ylvis and “Harlem Shake,” and even an homage to cinema with a brief clip of Anna Kendrick in “Pitch Perfect” singing “Cups.”
So which is better? Take a trip down musical memory lane with both videos and you be the judge.
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If anyone knows how long the Hollywood greenlighting process can take, it’s Chris Wedge. From concept to screen, the life cycle of the director’s latest animated adventure film, “Epic,” took 15 years.
But Wedge told the audience at TheWrap’s screening series that the work that gets done in that span is anything but a leisurely stroll to the finish line.
“I used to think it’s a marathon, because it takes so long,” Wedge said. “But it’s like a sprint, in that time. It’s a 26-and-a-half mile sprint.”
“Epic,” released in May 2013, was the eighth feature film by Blue Sky Studios, which Wedge cofounded in 1987. Blue Sky had struck gold with the “Ice Age” franchise for parent company 20th Century Fox, but the director wanted to move away from comedy and tell a big action/adventure tale that’s, well, epic.
“I wanted to try something a little bit different that didn’t start with comedy, [but] that started with the world and the adventure of it, and then populate it with characters and throw in the comedy too,” Wedge said.
That approach was part of the reason “Epic” took such a long time to hit theaters.
“It’s been one of those projects that took forever to crack and get a studio interested in backing it,” Wedge said. “It took a lot to get it on the screen.”
“When you pitch a new idea, it kind of has to hit a bunch of targets at once. And I think one of my issues with this movie was that that wasn’t obvious to people. And to their credit, Fox finally got behind this and then just opened up the floodgates and let me make the whole thing.”
During that wait, another film with a similar theme and highly advanced animation stole some of Wedge’s thunder: “Avatar.” Wedge told the audience that his son reacted in shock leaving the theater in 2009, saying James Cameron’s hugely successful film looked exactly like what he thought the film that eventually became “Epic” would.
“Your competition isn’t with the other studios; your competition is for ideas,” Wedge said, adding that it is both “terrifying” and “invigorating” for directors to pitch against filmmakers with preexisting base material or franchises.
“When you’re pitching ideas you’ve either got a script that is half cooked, or you’ve got drawings and some paintings of things, but there’s only so much you can do,” he said.
“It took the 500 people that you saw going by in those credits three-and-a-half or four years to put that on the screen. So now I can say, ‘see this is what I meant.’”
Though the process was undoubtedly frustrating, it has already begun to pay off. “Epic” grossed a respectable $264 million worldwide on a $100 million production budget, and the film has garnered four Annie Award nominations – for the stunning production design and animation, composer Danny Elfman, and director Wedge.
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Peyton Reed will direct “The Fifth Beatle,” the film adaptation of the best-selling graphic novel chronicling the final years of the band’s founder and manager, Brian Epstein.
Producers Bruce Cohen (“Silver Linings Playbook”) and Tony-Award winner Vivek J. Tiwary (“Raisin in the Sun”), who authored the graphic novel and wrote the screenplay, made the announcement Wednesday.
The project is the first feature to secure music rights to the Beatles’ songs and the John Lennon/Paul McCartney songbook.
It is slated to begin production in 2014 and the casting of the Epstein role will begin now that Reed is on board.
Reed is a veteran director, whose big screen debut came in 2000 with the cheerleading sleeper hit “Bring It On,” which took in $90 million at the worldwide box office.
He followed that up with “Down With Love” and “The Break-Up,” the Vince Vaughn-Jennifer Aniston comedy that tallied $203 million in 2006. His most recent effort was the Jim Carrey comedy “Yes Man,” which brought in $225 million in 2008.
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Sundance unveiled its competition films today and the theme seemed to be big stars in little movies.
TheWrap film reporter Jeff Sneider studied the lineup and came up with 15 movies in various sections that audiences should make time to see in Park City.
Watch the video to see what caught his eye.
Subscribe to Jeff Sneider’s What’s the Deal’ videos on YouTube.
The post ‘What’s The Deal?’ With Sundance’s Competition Lineup: Jeff Sneider Highlights 15 Films (Video) appeared first on TheWrap.
Jerry Bruckheimer, producer of blockbusters from “Pirates of the Caribbean” to “Top Gun,” has all but closed a deal to make movies for Paramount when his deal at Disney expires next year, according to three individuals with knowledge of the negotiations.
One insider said the deal is “getting close” and that the studio expects it will be wrapped up within a week. “They are inching their way there,” the insider told TheWrap.
Paramount declined to comment on the matter. A spokesman for Bruckheimer was travelling and did not respond to request for comment.
Also watch video: Where is Jerry Bruckheimer Going Next? How About Paramount?
Bruckheimer is one of the most successful producers in Hollywood history, and he made many of his earliest hits, including “Top Gun,” “Beverly Hills Cop” and “Flashdance” for Paramount.
He moved to Disney in the 1990s where he had a first-look deal for almost two decades. He continued to make blockbuster films there that took in billions of dollars for the studio including action hits “Con Air” and “The Rock” and “National Treasure.” His most successful franchise for the studio was the “Pirates of the Caribbean” franchise, taking in a total of $3.7 billion at the global box office.
However, fissures opened as Disney acquired brands such as Pixar, Marvel and Lucasfilm. Bruckheimer’s expensive, adult-skewing action movies no longer had a place at the studio, which was more interested in brands tied to characters than producers.
Disney had already contemplated changes to Bruckheimer’s deal after the failure of “The Sorcercer’s Apprentice” and “G-Force,” and the official decision to part ways when his deal expires in March came after Bruckheimer’s latest effort, “The Lone Ranger,” forced the studio to take a massive write-down.
Bruckheimer is still making another “Pirates” for the studio, but that movie has been delayed and writers are still working on the script.
He would fit right in at Paramount, which already distributes the lavish productions of Michael Bay, J.J. Abrams and Lorenzo di Bonaventura. Bay and Bruckheimer worked together on “The Rock,” “Armageddon” and “Pearl Harbor.” Bruckheimer brings his close relationship with Johnny Depp to the studio.
Paramount is also in the process of building a television division under the stewardship of Amy Powell. Though best known for his film work, Bruckheimer had produced hit TV shows “The Amazing Race,” “Without a Trace” and “CSI,” along with its spin-offs.
Bruckheimer still holds a deal at Warner Bros. television, but his film talents are headed to Paramount’s Hollywood lot.
Sharon Waxman contributed to this report.
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John Singleton and Russell Simmons are hitting the clubs with HBO.
“Boyz n the Hood” director Singleton and hip-hop mogul Simmons (pictured) are teaming up with the premium cable network to develop the drama “Club Life: Miami,” with Singleton writing and executive producing and Simmons also executive producing.
Set against the South Beach, Fla., club scene, the drama follows a reformed criminal who moves to Miami and gains a new lease on life as he embraces the vibrant, youthful and transgressive world.
Simmons is also executive producing an untitled drama in development at HBO with “12 Years a Slave” director Steve McQueen. That project, which McQueen will executive produce, co-write and direct, will explore a young African American man’s experience entering New York high society — with a past that may not be what it seems.
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Will Ferrell has been noticeably absent from promotional events for “Anchorman 2: The Legend Continues,” because Ron Burgundy has taken over his body.
Since Paramount launched it’s impressively-integrated publicity campaign — beginning with a series of largely improvised Dodge Durango commercials featuring the newsman selling the 2013 model — Burgundy has been turned into a Ben & Jerry’s Ice Cream flavor, issued Trick-or-Treating advice, warned against piracy, presented an award at MTV’s EMAs, released a book called “Let Me Off at the Top! My Classy Life and Other Musings,” signed it for lucky fans in Los Angeles, appeared on “Conan” (again), anchored an actual newscast in North Dakota, interviewed Peyton Manning for ESPN, launched his own brand of Scotch, celebrated the sport of curling on Canadian sports network TSN and, most recently, took over the Emerson College School of Communications for a day.
That’s not even the complete list, which Vulture has generously compiled. And on Thursday, San Diego’s classiest anchor is guest hosting ESPN’s “SportsCenter.”
That’s a lot of Burgundy before Paramount expects audiences to pay to see him when he tackles the box office on Dec. 18. That being said, “Anchorman 2″ is tracking very strongly, and expected to be one of the biggest hits of the holiday season. But the question remains: Is there a such thing as too much Ron Burgundy?
Here’s five signs that suggest there is:
1. College professors are complaining about his presence on their campus.
Students loved the comedic character roaming the Ron Burgundy School of Communication on Wednesday, but a few professors wondered how the publicity stunt furthered the reputation of the journalism school or had any educational value for its students.
“We get calls from colleagues around the country asking if us if we lost our minds,” Emerson journalism professor Emmanuel Paraschos told the Boston Globe. “My college roommate called me and said, ‘What are you people smoking?’”
Fortunately for the fictional journalist, college professors probably aren’t in Paramount’s target market for the PG-13 sequel to 2004′s “Anchorman.”
2. Burgundy is building up hype for guest anchoring “SportsCenter” after already appearing on a Canadian sportscast — and a local North Dakota newscast.
Sure, ESPN is a larger market, especially for American audiences, but the internet has turned any notable moment on television into a national news story. Nobody knows this notion to be truer than former North Dakota anchor A.J. Clemente.
3. The media is beginning to predict nationwide Burgundy fatigue by Friday.
“Tomorrow at 6, Burgundy will host ESPN’s Sportscenter for an entire hour. By 7, we predict, the nation will be officially burned out on Burgundy,” The Wire wrote. “For a short spurt of silliness, his schtick is great. For an hour-long, live broadcast, though, we’re less convinced.”
Whether that prediction is accurate, however, is still in question.
It makes sense that members of the media would be the first to tire of Ferrell’s schtick since they’re constantly monitoring his exploits in case they can throw it up for clicks. But the casual moviegoer or “Anchorman” fan is just tuning in when he or she wants to. Chances are, the majority of them haven’t been keeping track of just how many publicity stunts Burgundy has participated in. Still…
4. Audiences are beginning to experience Burgundy fatigue before the release of the movie he’s promoting.
Maybe I’m in the minority here, but I’ve already seen enough Ron Burgundy this week. No need to pay for the movie.
— Eye Veechat (@ivychat) December 4, 2013
Can’t wait for Anchorman 2 to open. I just saw Will Farrell going door to door asking if he can come in and do his Ron Burgundy schtick.
— Kelly S. (@kelter1) December 4, 2013
Ron Burgundy is overexposed
— Abdullah Ahmed (@Abdullah12) December 4, 2013
Is Ron Burgundy anchoring the pre-game show to the Beef-O-Brady Bowl? It’s abt the only thing left.
— Bill Carter (@wjcarter) December 4, 2013
Whoa, lots of you also sick of the incessant Ron Burgundy publicity tour. Hang in there. We’ll get through it together.
— Jimmy Traina (@JimmyTraina) December 4, 2013
I’ve seen so much Ron Burgundy promo crap it’s killed my desire to see Anchorman 2
— Joshua Green (@JoshuaGreen) December 4, 2013
You know what would make me *really* excited for “Anchorman 2″? Not seeing Ron Burgundy again til Christmas.
— Daniel Fienberg (@HitFixDaniel) December 4, 2013
At least Ron Burgundy isn’t spreading himself too thin or anything. — Rear Admiral (@RearAdBsBlog) December 4, 2013
not sure who I’m more tired of these days, Rob Ford or Ron Burgundy?
— Ian McLaren (@iancmclaren) December 4, 2013
5. There’s still two more weeks until “Anchorman 2″ hits theaters!
If there truly is Ferrell fatigue spreading across the country, this is only the first wave of it, because the promotional blitz is just warming up.
But don’t worry, Paramount. I’m still excited to see “Anchorman 2.” For now, at least. And so is this guy:
Usually when a movie is stuffed in your face you get sick of it, but I can’t get enough of Ron burgundy, guy is everywhere so hot right now
— Nicholas Russo (@Nicholas_Russo1) December 4, 2013
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LeBron James’ feature film debut project is heating up again, as comedian Kevin Hart will join the NBA champion in Universal Pictures and Imagine Entertainment’s “Ballers,” an individual familiar with the project told TheWrap.
The diminutive Hart may appear small next to James but he’s a big star, with the hit comedy “Think Like a Man” under his belt and the upcoming “Ride Along” shaping up to be a potential franchise at Universal.
“Ballers” will find Hart playing LeBron’s brother, who gets a chance to emerge from James’ towering shadow when he attends a fantasy basketball camp in Miami.
Brian Grazer and Michael Rosenberg will produce “Ballers” for Imagine, which was forced to put the project on the back burner in 2011 after James’ Miami Heat lost in the NBA Finals to the Dallas Mavericks. James would’ve come under fire if he spent the summer shooting a movie rather than working on his game. Now that he has two championship rings, naysayers will have a hard time questioning his summer vacation plans.
Hart and James will executive produce with Maverick Carter and Imagine’s Kim Roth.
Production is scheduled to start in the summer of 2014. In the meantime, Hart will co-write the comedy with his frequent collaborators Joey Wells, Chris Spencer and Harry Ratchford. Lowell Ganz and Babaloo Mandel were the original writers on the project along with Peter Steinfeld.
While James has a killer crossover and a mean jumpshot, it remains to be seen if he can crossover and make the jump to features the same way that Michael Jordan did in “Space Jam.”
Hart next stars opposite Ice Cube in Universal’s “Ride Along,” and he’ll also be seen in Screen Gems’ remake of “About Last Night” and Chris Rock’s “Finally Famous.” He’s repped by UTA and 3 Arts Entertainment.
The news was first reported by Deadline.
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Ever feel like the guests at your dinner party are silently judging your cooking? The Reality TV gods have answered your prayers.
“Come Dine With Me” — the reality competition format that’s enchanted audiences in the UK, Germany, Sweden, Greece and a slew of other international markets — makes its U.S. debut Thursday on Lifetime, allowing American viewers to bask in the discomfort of dinner-party disasters without the fear of personal shame.
On the series, contestants dine at each others’ homes, then privately — and often brutally — vote on their competitors’ cooking and hosting abilities, with the ultimate goal of taking home a cash prize.
In this exclusive clip, one contestant’s plans to add a blindfolded taste test to her dinner party come to an ignoble end, when one of her guests is sent running to the porcelain throne to jettison her beetroot mousse.
“Come Dine With Me,” which is produced by ITV Studios America (“Hell’s Kitchen,” “Kitchen Nightmares”) premieres Thursday at 10 p.m./9c on Lifetime. In the meantime, take a look at the gut-churning exchange below:
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The fall finales of “The Originals” and “Supernatural” combined to give The CW its most-watched Tuesday night in more than five years.
The younger-skewing network saw an average of 2.45 million viewers last night, a slight increase from prior week, but good enough to hit its top number since Nov. 4, 2008.
Last night’s episode of “The Originals” was the series most-watched episode to date, with 2.44 million viewers, and tied its series high in the advertiser-coveted 18-49 demographic, earning a 1.1/3. The show was up three percent week-to-week in total viewers, flat in the key demo.
“Supernatural” — also steady in week-to-week ratings — matched its season highs in 18-49 (1.1/3), up two percent in viewership with 2.45 million.
The back-to-back shows have proven a real boon for The CW. In mid-October, they handed the network its top-rated Tuesday in four years — a number that they’ve since matched, including last night.
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The “Fast & Furious” franchise paid tribute to Paul Walker with a montage video posted Wednesday on YouTube.
Scenes from all five “Fast” films in which Walker appears are featured in the mashup, which is set to P. Diddy’s “Coming Home.” The video was featured on the film franchise’s official YouTube channel and was posted on its Twitter account.
Walker was killed Saturday when the high-performance Porsche that business associate Roger Rodas was driving slammed into a pole and exploded. The LA County coroner on Wednesday ruled their deaths accidental by blunt force and thermal trauma.
Also read: Paul Walker Cause of Death Determined
Universal announced a short while later that it was indefinitely suspending production on “Fast & Furiuos 7″ while it decides what to do with the film — including the possibility of scrapping it and starting over, as TheWrap first reported.
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On average, PG-13 movies make more than three times what R-rated films do at the box office in the U.S.
So why is Hollywood releasing far more R-rated movies than any other kind?
This year, PG-13-rated films have accounted for 52 percent of the overall box office grosses, well ahead of films that the Motion Picture Association of America rated R (27 percent), PG (16 percent) or G (3 percent). And none of the year’s top ten movies is rated R.
But there have been far more R-rated films released wide this year, as was the case in 2012. Thirty percent of all releases — 189 in all — are rated R, compared with 114 PG-13 movies (18 percent), 33 PG-rated movies (5.4 percent) and three G movies, according to Box Office Mojo.
Why would Hollywood spite itself like this? The short answer: The pervasive desire to keep it real creatively, then turn profit on downstream platforms. Awards can be a factor, too.
But it’s much more complex than even that.
The biggest box-office money-makers, like “Iron Man 3” or “The Hunger Games: Catching Fire” are purposefully PG-13 to connect all “four quadrants” – both young and old, and men and women. If a film is rated R, you’re eliminating the young crowd (mischievous teen theater-hoppers notwithstanding).
The movies in Universal’s $2.3 billion “Fast & Furious” franchise, for example, have been and will always be PG-13, according to distribution chief Nikki Rocco.
“You wouldn’t want to restrict the people who love the movies and have been die-hard fans, and that’s the way it is with almost every major franchise,” she said.
But it can cut the other way, as it will with the studio’s “Ted 2,” the upcoming follow-up to Seth MacFarlane’s 2012 hit based on a potty-mouthed teddy bear.
“Would the core audience for ‘Ted’ really want it to be anything but R?” she asked.
Key to the trend is that the majority of movies’ business plans don’t call for making hundreds of millions at the box office. Provided your production and marketing budgets are right-sized, a $10 million opening can be enough to spur ancillary earnings into the black, and there’s always potential for a breakout.
CBS Films appealed to the MPAA Ratings Board this summer after its “Last Vegas” initially received an R, and made enough edits to get it to a PG-13. It’s become the company’s biggest earner ever with nearly $60 million domestically, a figure it likely wouldn’t have hit with an R rating.
Paramount this week firmed up a PG-13 rating for “Anchorman 2,” which was critical if the comedy sequel is going to hit the lofty box-office haul analysts are projecting.
Sometimes the studios and filmmakers will fight to avoid an R rating for the sake of a broader potential audience, but not always. The Halle Berry thriller “The Call” might have been cut to achieve a PG-13, but distributor Sony Tristar and the filmmakers decided not to fight, according to producer Michael Helfant.
“I know we left a chunk of business on the table, but we didn’t fight it, because we would have had to have made so many changes that it wouldn’t have been the same movie,” he said. Things worked out; “The Call” made $68 million worldwide on a $13 million production budget.
There are some films – Fox Searchlight’s “12 Years a Slave,” for example – that have story lines that are almost bound to be R. Knowing the audiences for that sort of film are going to be more mature, studios don’t mind an R, since few youngsters are likely to be attracted to the film anyway.
For some movies, theatrical releases are mainly to build buzz, and are secondary to VOD and downloads in terms of revenue.
The Weinstein Co.’s specialty label Radius made its R-rated biopic “Lovelace” available on VOD and for downloads on the same day it hit theaters, and the Amanda Seyfried drama has made far more from those platforms than the $346,000 it took in at the box office.
But when studios are shooting for blockbusters numbers — typically with a movie that has blockbuster-sized marketing and production costs — it’s understandable that they don’t want to risk an R-rating.
Movies with PG-13 ratings accounted for six of this year’s top ten films. Two were PG and two others – Disney’s “Monsters University” and Universal’s ‘Despicable Me 2” – were G-rated.
“The Heat,” the raunchy Melissa McCarthy-Sandra Bullock buddy comedy is the year’s highest-grossing R-rated film with nearly $160 million, but ranks just No. 13 on the list of the year’s top grossing domestic movies.
R-rated and envelope-pushing laughs also propelled hits including the Jennifer Aniston pot comedy “We’re the Millers” and “Identity Thief,” with McCarthy and Jason Bateman. “The Hangover III,” “This Is the End” and “Jackass Presents: Bad Grandpa” all rode raunchy laughs to box office success.
But along with the horror film “The Conjuring,” those are the only R-rated films among the year’s top 35 films at the box office.
There can be nuance involved in the more family-friendly ratings, too. For example, there’s a sweet spot that studios aim for with movies that target young kids. A PG rating, and especially a G rating, can cause older teens to steer clear, but seeing a PG-13-rated movie can make younger kids feel more grown-up.
There are exceptions to the box-office realities of R-rated films. Mel Gibson’s “The Passion of the Christ’ is the top-grossing R-rated movie domestically ever with $370 million domestically in 2004. And last year, “Ted” brought in $218 million in the U.S. to rank No. 9 and brought in nearly $550 million worldwide.
But of the list of all-time highest-grossing movies, the highest-ranking R-rated film is “The Matrix Reloaded,” which brought $742 million in 2003 — at No. 54.
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In a bizarre but potentially fascinating match between a filmmaker and material, Alejandro Gonzalez Inarritu is in early talks to direct “The Jungle Book” for Warner Bros., an individual familiar with the project has told TheWrap.
With Rudyard Kipling’s classic novel in the public domain, it serves as the basis for two rival projects — the WB movie written by Callie Kloves and a Disney movie that Jon Favreau will direct from a script by Justin Marks.
Frequent “Harry Potter” scribe Steve Kloves is producing WB’s version.
“The Jungle Book” is a set of India-based fables, many of which feature Mowgli, a young boy raised by wolves whose friends include a bear and a panther.
Disney’s 1967 animated adaptation was the last film to be produced by Walt Disney, who died during its production.
Inarritu has been mixing it up lately, having recently wrapped the comedy “Birdman” after making his name with the intense dramas “Amores Perros,” “21 Grams” and “Babel.”
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Thanksgiving has come and gone, which means the end of 2013 is just weeks away, so it’s time to look back at the films TheWrap’s staff has seen this year, and pick out the moments — large or small — that wowed us for one reason or another.
From that 10-minute sex scene in “Blue Is the Warmest Color” to Bruce Dern’s subtle portrayal of a man with a painful past in “Nebraska” and Channing Tatum’s cameo in “This Is the End,” here are our choices for the best movie moments of the year.
The last scene in “Captain Phillips”:
Even those who were mixed on the movie sung the praises of Tom Hanks for his performance in the last 10 minutes of the movie, when the title character is in shock after being rescued. His wide-eyed, largely wordless reaction spoke volumes about the trauma he survived, and the woman who treated him was the perfect counterpart, which makes sense since she’s actually in the Navy. A harrowing ending to a gripping film. — Jeff Sneider
The first long sex scene in “Blue Is the Warmest Color”:
The movie is filled with carnal moments that fluctuate between delicious and harrowing. Director Abdellatif Kechiche adoringly and lasciviously watches his lead Adele Exarchopoulos eat on many occasions. The fights between his two lead actresses are wrought. The homophobia amongst some students at the fake school is infuriating. Yet if forced to single out anything from one of the year’s best movies, it’s the sex scene that had everyone at Cannes talking — and has sparked disputes between the director and his stars. — Lucas Shaw
Channing Tatum’s cameo in “This Is the End”:
There were too many hilarious moments to count in Seth Rogen and Evan Goldberg’s directorial debut, which was a raunchy send-up of the Rapture. But one of the most memorable featured the funniest cameo of the year — People Magazine’s Sexiest Man of 2012, Channing Tatum, pulling off a mask (above) to reveal he has become Danny McBride’s sex-slave gimp in order to survive in the post-apocalyptic wasteland that Los Angeles has become. — Greg Gilman
The sunrise at the beginning of “Gravity”:
The calm before the storm that sets Alfonso Cuarón’s space thriller into motion is a magnificent display of how far VFX have come since Stanley Kubrick’s “2001: A Space Odyssey” wowed audiences in 1968. George Clooney’s dialogue isn’t an exaggeration in the slightest when he watches in awe (see trailer moment above) as the sun begins illuminating planet Earth. “Beautiful, isn’t it?” Clooney says. “Terrific.” — Greg Gilman
Spock gets angry and beats Kahn’s butt in “Star Trek Into Darkness”:
At the height of the most satisfying character arcs of the year — in a tentpole studio movie, at least — Spock (Zachary Quinto) finally takes Captain Kirk’s advice and expresses his emotions just in time to teach Kahn (Bennedict Cumberbatch) that he’s not as invincible as he thinks he is. — Greg Gilman
Woody Grant’s triumphant joy ride in “Nebraska”:
Alexander Payne’s drama followed an aging father (Bruce Dern) and his son (Will Forte) road tripping through the midwest to claim a million dollar prize that doesn’t exist. While there are many gripping moments in the subtle black-and-white comedy, the most touching comes just before the credits roll as Dern’s character takes one last joy ride through his hometown and catches the eye of a former flame that burnt out a long, long time ago. As he drives by with a renewed sense of confidence, she gazes upon him as if replaying their entire romance in her head. There wasn’t a tear, a word, or even a wave — just a woman watching a man she used to love ride off into the sunset, and wondering what could have been. — Greg Gilman
Marcus’ rap in “Short Term 12″:
Keith Stanfield plays a character who often struggles to communicate with those around him. He alienates himself, often refusing help from those who want to give it. Yet when given the opportunity to express his pain in song, Marcus drops a devastating rap (above) that impugns his mother and steals the movie. — Lucas Shaw
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Ben Foster (“Lone Survivor”) and Dominic Cooper (“Need for Speed”) are set to join Duncan Jones’ big-budget fantasy film “Warcraft,” TheWrap has learned.
Travis Fimmel (“Vikings”) and Paula Patton (“2 Guns”) also star in the movie, which is based on Blizzard Entertainment’s popular video game “World of Warcraft.”
“Warcraft” is another ambitious project for Legendary, which also brought Guillermo del Toro’s “Pacific Rim” to the big screen. The fantasy film follows orcs, dragons, zombies, werewolves and elves in a medieval-like setting.
Jones (“Source Code”) will direct “Warcraft” from a script by Charles Leavitt. Legendary’s Thomas Tull and Jon Jashni are producing with Atlas Entertainment’s Charles Roven and Alex Gartner.
Production will start next month in Vancouver, and Universal will release the movie on March 11, 2016.
The standout amongst the cast of “Lone Survivor,” Foster is currently filming Stephen Frears’ untitled Lance Armstrong movie. He’s repped by WME.
Cooper will soon be seen in “Dracula Untold” and “Captain America: The Winter Soldier.”
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If you haven’t had a chance to see all the movies that came out in 2013, at least you can see all the movie trailers that came out in 2013.
Tumblr user The Sleepy Skunk has compiled exactly one gillion clips from movie trailers to create a seven-minute video retrospective of the year in film, and it’s pretty mind-blowing.
Click here for a list of all the movie trailers used, in the order they appear in the video.
The post The Ultimate Year-End Trailer Mashup To End All Mashups (Video) appeared first on TheWrap.Related stories from TheWrap:
No one will be mistaking the Indian submission for the best foreign film Oscar, “The Good Road,” for a Bollywood production, even before it doesn’t get to the first musical number. More apt comparisons for writer-director Gyan Correa’s triptych feature are tough-minded, multi-narrative dramas from other countries, like “Babel.”
As it turns out, first-time helmer Correa has not lacked for points of connection with the Bollywood world, in his previous life as an ad-man.
“When I started making commercials, I had a lot of offers to do feature films in India — but essentially in a space like the Bollywood space, and I don’t want to be there,” Correa said after TheWrap’s awards series screening Tuesday at the Sundance Cinemas.
India’s predominant genre is “not my kind of film,” he further explained to Steve Pond, TheWrap’s Oscars columnist, in a post-screening Q&A. “I think Bollywood has got its own audiences and that’s great. In commercials, I deal with that world all the time — (with) a lot of the actors and big names. But for a feature film, I think it’s a little sacred or something, to work with (the medium) differently.”
Correa’s feature debut is, as the title suggests, a road movie, with intersecting stories that involve a well-to-do couple who lose their son at a rest stop, a pair of slightly shady truckers who reluctantly pick up the boy, and a homeless pre-teen girl who unwittingly settles in at a roadside whorehouse. The director admitted that a three-pronged narrative had turned out be a lot to bite off for his first movie.
“It’s very tricky to balance three stories and get the flow right,” said Correa, who added with a laugh that the only thing he was certain about going into the future is that “my next film will not be three stories — of that, I’m sure. If I was to revisit that decision.”
Pond asked if the director ever truly regretted taking on that much storyline.
“Not just in the writing process, but in the editing process, right up to the last minute!” Correa chuckled. “But this is the highway, and there are all these images and experiences that kept coming alive for me. To tell you the truth,” the director finally counter-confessed, “I would have liked to include more stories.”
Correa really did hit the road, at length, before writing the script.
“When I first started my road trips, I didn’t think I would be filming anything, because funding for these films is not easy where I come from,” he told Pond. “So I thought I should just get out and travel. But I met these fascinating people and their stories, and I felt it had to come across in a film. I’ve always felt that roads are a kind of artery of the society, and the people on the roads that I traveled on in India, their stories are never told, at least in contemporary cinema. It’s all these different cultures and economic groups coming together on the highway and co-existing together.”
See photos: TheWrap Awards Screening Series 2013 (Photos)
As if the convoluted narrative weren’t challenge enough for a first feature, Correa also chose to give the most screen time to the non-actor who plays one of the truck drivers. Shamji Dhana Kerasia “is driving on some dusty road right now,” the filmmaker assured the audience.
“I keep telling myself it is easer to put a truck driver into an actor rather than the other way around. He’s one of the most emotionally intelligent men I’ve met. And he just has this incredible capacity to understand what we were trying to do – without, by the way, ever having seen a feature film in an auditorium! That’s a fact.”
Casting someone who’d never even seen an entire movie before as a lead had its interesting moments.
“Right through the process he didn’t understand film,” said Correa. “He didn’t know what we were doing.” So for each take, Correa opted to never say “cut” during a scene but always “play it through to the end.” When it came time for looping, “there were some bits we had to dub in a studio, so when he saw his image on the screen, he was freaked.”
India’s choice of “The Good Road” for its Oscar submission has raised some controversy, partly because it has no U.S. distributor — in fact, the Tuesday night Wrap screening was its first American public showing — whereas the Cannes favorite “The Lunchbox” was considered a more viable contender thanks to its Sony Classics deal.
Even the director of “Lunchbox” joined in and cried unfair … while admitting he hadn’t seen “Good Road.” A backlash to the backlash has set in, with some defending India’s National Film Development Corp. (which produced both films) for picking the underdog that’s perceived to have less American commercial potential.
“The Good Road” has only played commercially in the province in which it’s set, Gujurat.
“This is a regional film,” Correa explained. “India is like the U.S., with many states, but each state has its own language,” which makes true national distribution difficult. “The mandate of my producer is to promote regional film, (with) the objective first to make a film that is critically acclaimed, etc. It did well in Gujurat, but if you’re comparing it to Bollywood, it can’t even begin to compete in terms of production and release.”
As for how it successfully competed for India’s coveted Oscars slot, “I have seen the other films that were in contention, and I’m glad I didn’t make the choice, because they were all damn good,” Correa said. “What’s nice about the films is that each of them has got a different perspective and voice, but none of them are silly. It was particularly sweet that this film was chosen in a year when there were so many great films in the Oscars process.”
The post TheWrap Screening Series: How India’s Oscar Contender Rejected Bollywood on the Way to Hollywood appeared first on TheWrap.Related stories from TheWrap:
Given his squeaky clean reputation, this is probably the only time you’ll see “Tim Tebow” and “three-way” in the same sentence: The Big Lead reports that ESPN’s SEC Network, CBS Sports and Fox Sports are all trying to recruit him as a college football analyst.
Tebow is being courted by all three networks, multiple sources told the site. It says the SEC Network, debuting Aug. 21, wants to group Tebow with Rece Davis, Paul Finebaum, and a college football vet to be named later.
Also read: CAA Signs Tim Tebow For All His Business
CBS Sports, meanwhile, is willing to remake its pregame show to accomodate Tebow, the site reported.
Neither ESPN nor the other networks responded to requests for comment from TheWrap. Neither did Tebow’s representatives at CAA.
Asked it it might also get in on the action, NBC Sports told TheWrap: “We’re very happy with our current roster of football commentators.”
Also read: Tim Tebow Says No to ‘The Bachelor’
Tebow has captivated fans and reporters — his Tebowing became a national phenomenon — but the New England Patriots released him in August and no other teams appear to be recruiting the telegenic quarterback as aggressively as television producers apparently are.
Lucas Shaw and Tony Maglio contributed to this story.