Very few directors made historical films quite like Tom Hooper did. He had the gift of seemingly getting inside the minds of some of the most powerful figures in history and exploring onscreen their s...
The film's star, Hugh Jackman, recently revealed he was trying to persuade Hathaway to take on the role of the prostitute in the retelling of Victor Hugo's classic story, and it seems his efforts have paid off.
The actress reportedly fought off competition from Amy Adams and Rebecca Hall to land the singing role.
Hathaway will join Jackman, Russell Crowe and Helena Bonham Carter in Hooper's ambitious new film.
After weeks of rumors (and to absolutely no one's surprise), Anne Hathaway has been officially given the role of Fatine in Tom Hooper's film adaptation of Les Miserables.
To take the female lead in Les Mis, Anne Hathaway was the obvious choice. You might even call her the safe choice. But she is, nonetheless, a great choice. This movie isn't vying for breakout stars; it's roping in all the classics. Hugh Jackman as the hero, Jean Valjean? Yes, it's none too surprising, and none too risky. But it'll be none too disappointing either. Same goes for Russell Crowe as the villainous Inspector Javert.
This even applies to the director, Tom Hooper. Last year, Hooper served us The King's Speech, as classic and traditional as a movie can get. It was still good, but it was a shoe-in from the start for the Best Picture.
The real question is: does this indicate a problem? Does the "Better Safe than Sorry" mindset that is enveloping this project (classic musical, classic cast, classic director) indicate a cynical deterrence from anything new, unfamiliar, or different in any way? Or is it simply an appreciation of a certain type of talent, and an application of that talent in a way that will produce an enjoyable, worthwhile film?
It's probably the latter. Entertaining the former theory is really just looking for things to scorn. And while I love looking for things to scorn, I also love Les Miserables. And I love Hugh Jackman. And I love Anne Hathaway.
And in the end, would you rather have a heart full of scorn...or a heart full of love?
The Aussie actor, who will play Jean Valjean in the film, reveals producers and director Tom Hooper are looking at the latest 3D technology with a view to giving the project a series of eye-popping effects.
He tells Collider.com, "It's in discussion. Honestly, that's probably gonna be part of what the tests are about, to see what that does."
The actress has joined Hugh Jackman and Russell Crowe in the film - as Madame Thenardier - according to Britain's The Daily Mail.
Jackman will lead the cast as Jean Valjean, while Crowe has reportedly accepted the role of Inspector Javert.
Bonham Carter portrayed the Queen's mother in Hooper's Oscar-winning film.
Shooting on Les Miserables is expected to start early next year (12). The film is scheduled to open in December.
Crowe has been in talks to play Inspector Javert in the project for months, and now sources tell trade paper Variety he has signed on for the role.
The King's Speech's Tom Hooper will direct the film, which has a release date of 12 December, 2012.
Although not known for his musical skills, Crowe did front rock band Thirty Odd Foot of Grunts.
Reports suggest Jackman is trying to persuade Anne Hathaway to sign on to play prostitute Fantine in the movie musical.
With Hugh Jackman officially on board, Universal's adaptation of the stage musical Les Miserables is coming together quickly. THR has several cast additions to report, the most significant of which is Russell Crowe. The pugilistic Oscar winner is in talks to play Javert, the police inspector who will stop at nothing to capture and imprison the fugitive Jean Valjean (Jackman). Also set to join the cast of are Geoffrey Rush and Helena Bonham Carter, both of whom worked with Les Mis director Tom Hooper on his previous film, The King's Speech. Rush and Carter will play the Thenardiers, greedy innkeepers whose shifty business practices are chronicled in the comical duet "Master of the House."
Universal today also announced a release date for Les Miserables: December 7, 2012.
While Jackman is no Colm Wilkinson, he is no stranger to musical theatre, having starred in The Boy From Oz on Broadway. Click on the image below to check out his gallery.
The most wonderful news keeps coming attached to a story about poor people stealing bread and dying in the June Revolution.
We already know that Hugh Jackman will be leading Tom Hooper's Les Miserables once the project goes underway, but since that news broke, a heap of big names has become involved as prospective cast members. The latest is Anne Hathaway (who is now primed to overtake the Earth entirely).
To those of you incurable cynics who question the power of a Jackman/Hathaway duet, lest you forget their heart-fluttering opening number at the 2009 Academy Awards: it's like watching doves knit rainbow tidal waves out of firework yarn. That is to say, great.
For now, Hathaway joining Les Miz is still in rumor territory. Others in consideration for the leading female part, Fantine, include Amy Adams and Rebecca Hall. Possibles to return from Tom Hooper's The King's Speech are Geoffrey Rush and Helena Bonham Carter with their eyes on the Thenardiers. To further the hype, young actresses including Emma Watson, Miranda Cosgrove, Hayden Panetierre and Lucy Hale have been mentioned as interested parties.
Hathaway, Adams or Hall... any part of this mighty trio would amount to grandieur in the role of Fantine. This project is one adaptation that exclusively breathes optimism.
Though ostensibly successful 2009’s The Final Destination represented to many a horror franchise on its last hackneyed legs. Rote uninspired and humorless it scored a (modest) hit only by virtue of the novelty -- and added ticket price -- of its 3D transfer. Two years later Final Destination 5 arrives with a slightly tweaked formula a beefed-up storyline actors you might actually recognize and genuine honest-to-goodness 3D. It’s still schlock mind you -- but artful schlock and a marked improvement over the preceding entry.
The story begins in familiar fashion with a cursory introduction to the characters followed by a grisly premonition that sees them perish wholesale. An assortment of cubicle-dwellers at a paper factory are being bused to a corporate retreat when one of them Sam (Nicholas D’Agosto perpetually bug-eyed) dreams of a massive bridge collapse in which he and his co-workers are impaled beheaded bisected crushed by cars singed by tar -- however many ways a suspension bridge can kill a person the film’s opening set-piece explores it gruesome detail. Sam awakens duly horrified and demands the bus be evacuated. Seconds later the employees watch in horror from the sidelines as Sam’s vision comes to fruition.
You know what happens next. One-by-one death stalks the survivors who meet their fate in a series of elaborately-staged incidents. Some are relatively straightforward; others involve fiendish head-fakes and red herrings. The range of victims is older and more colorful than in previous Final Destination films in which death preyed exclusively on attractive nubile teenagers but the end result is invariably the same. (Not to give anything away but those considering acupuncture or laser eye surgery would be wise to avoid the film entirely.) As death’s scheme becomes achingly evident Sam his lachrymose girlfriend Molly (Emma Bell) and his increasingly unhinged buddy Peter (Miles Fisher) become increasingly desperate. Enter the ever-ominous Tony Todd returning to the franchise after (wisely) taking the previous film off offering a potential way out. But is it genuine or just another of death’s cruel tricks?
Director Steven Quale a James Cameron protege hired principally for his 3D expertise takes full advantage of the added dimension delivering some of the most vivid and immersive 3D sequences in recent memory. Unlike The Final Destination which seemed little more than a amalgam of crude one-liners Final Destination 5 feels like a real movie one with a discernible plot an element of suspense and a handful characters who are more than just punchlines. Most of the actors are surprisingly competent save for Fisher a credible doppelganger for Tom Cruise (he parodied him 2008’s Superhero Movie) who imbues every line with couch-jumping intensity.
Final Destination 5 ends with a twist that while genuinely unexpected feels like a Hail Mary for a franchise that can’t forestall its inexorable descent into stale irrelevance despite the best of efforts from Quale. Its trademark formula has simply lost its potency -- a problem no amount of cosmetic upgrades however welcome can fix. That the film is bracketed by two pointless and time-consuming montages -- the first an animated sequence that hurtles various hazardous objects at the audience the second a greatest hits compilation of memorable kills from previous Final Destination films -- is a telltale sign that the saga’s creativity is on life support. Perhaps it’s time to pull the plug.
The King's Speech swept almost all the big categories at the most recent Oscars ceremony, and the Tonys might be next.
The British drama -- which was originally developed as a play by screenwriter David Seidler -- is set to make a run on Broadway in the fall of 2012.
Casting is reportedly under way to find a replacement for the major roles, including that of the stammering King George VI of Britain, played by Colin Firth in the movie.
The film's director, Tom Hooper, will not be involved in the theatrical production, as he is currently prepping a(nother) big-screen version of the beloved Les Miserables.
Made feature debut with the South African Truth and Reconciliation Commission drama "Red Dust"
Directed epic miniseries "John Adams" for Playtone and HBO; film starred Paul Giamatti as John Adams; earned an Emmy nomination for Outstanding Directing and a nomination from the Directors Guild of America
Directed all-star cast for feature adaptation of popular musical drama "Les Misérables"
After graduating from Oxford, directed television commercials
Nominated for the 2011 Academy Award for Best Achievement in Directing
While still in school, directed Kate Beckinsale in "A View From the Bridge" and Emily Mortimer in "The Trial" at the Oxford Playhouse
Directed BBC costume drama "Love in a Cold Climate," which was based on Nancy Mitford's novels The Pursuit of Love and Love in a Cold Climate
Nominated for the 2011 Directors Guild of America Award for Outstanding Directorial Achievement in Feature Film ("The King’s Speech")
Directed Colin Firth as King George in "The King’s Speech"
For Robinson, directed episodes of the short-lived Tyne Tees Television soap opera "Quayside" and four episodes of the Children's BBC television series "Byker Grove"
Re-teamed with writer Peter Morgan for "The Damned United"
Directed several episodes of the BBC One soap opera "EastEnders"
Introduced by his father to television producer Matthew Robinson
Directed Helen Mirren in revival of "Prime Suspect" titled "The Last Witness"; the two-part serial was broadcast on the ITV network; earned an Emmy nomination for Outstanding Directing
Nominated for the 2011 Directors Guild of America Award for Outstanding Directorial Achievement in Feature Film
Nominated for the 2011 Golden Globe Award for Best Director – Motion Picture ("The King’s Speech")
Nominated for the 2011 Golden Globe Award for Best Director – Motion Picture
Directed the British television miniseries "Elizabeth I," starring Mirren in title role; aired on HBO in U.S.
Directed the Granada/HBO television film "Longford," starring Jim Broadbent and Samantha Morton; first collaboration with writer Peter Morgan
Very few directors made historical films quite like Tom Hooper did. He had the gift of seemingly getting inside the minds of some of the most powerful figures in history and exploring onscreen their struggles, vanities, failures and successes. The British director first gained international acclaim with the biopic, "Elizabeth I" (Channel 4, 2005), a moving portrayal of the later years of the nearly 45-year-long reign of Elizabeth I of England. He also earned critical accolades for directing the award-winning epic miniseries "John Adams" (HBO, 2008), which explored the role of President John Adams in the founding of the United States. His career rose to new heights after he helmed "The King's Speech" (2010), a film that captured the riveting bond between an insecure monarch and the therapist who helped him overcome a debilitating speech impediment. The picture, which received several Oscars including Best Director and Best Picture, helped establish Hooper as an authoritative cinematic voice. By the time he directed the highly anticipated adaptation of "Les Misérables" (2012), Hooper was one of Hollywood's most sought-after directors.