Academy Award winning actress Jennifer Lawrence has found her newest newest cinematic adventure. The critically acclaimed actress will star in the upcoming drama The Rules of Inheritance.
According to Deadline, The Rules of Inheritance is based on Claire Bidwell Smith’s memoir about a young woman who loses her parents to cancer, but then finds herself in the process. The full description reads, "While struggling to cope, she propels herself into many romances, adventures and travels in an inspirational, emotionally charged and surprisingly humorous journey that celebrates life, the people we love and lose and the discoveries we make along the way."
Directing the film is Susanne Bier who just helmed Serena with Lawrence and her Silver Linings Playbook co-star Bradley Cooper. The Hunger Games star is also set to produce the film alongside Silver Linings Playbook’s Bruce Cohen while FilmNation Entertainment will executive produce.
FilmNation’s Glen Basner and Aaron Ryder said, “We are thrilled to be working with the dream team of Jennifer Lawrence, Susanne Bier, Abi Morgan and Bruce Cohen. We have no doubt that this inspirational and hopeful book will be turned into an emotionally powerful movie that audiences around the world will fall in love with.”
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Pierce Brosnan hasn't stepped into James Bond's shoes for over a decade, but you wouldn't know it when you meet him. The Irish actor — who turns 60 this month, but doesn't seem to age — seems to be carrying on the suave legacy of Bond. Especially when it comes to his affinity and appreciation for women.
Hollywood.com caught up with Brosnan to discuss his latest film Love Is All You Need and when it came to the subject of his co-star, Danish actress Trine Dyrholm (whom Brosnan says has "the Meryl Streep touch" to her craft), he put it simply: "I've been blessed with all the leading ladies I've been with, they've all been rather gorgeous and beautiful and I love women." When it came to the subject of his Oscar-winning director Susanne Bier, he put it simply: "I've worked with some great directors from Barbra Streisand to Susanne Bier to when I did Remington Steele, there were some fine lady directors on that show. I love working with women. I love women. There's just an ease and a grace." Brosnan. Pierce Brosnan.
But, it wasn't just his fondness for working with talented females like Dyrholm and Bier that drew him to a project like Love Is All You Need. The film a glossy but heartfelt romantic drama about a hairdresser named Ida (played by the vivacious Dyrholm who gets naked, literally and metaphorically), a cancer survivor whose husband has been cheating on her, and Philip (Brosnan, in what Bier describes as "one of his most touching performances"), a hard-working businessman and widower. Philip and Ida meet at their respective children's nuptials at a picturesque French villa and the two begin fall in love. "It goes right up there on the shelf with, dare I say, Mamma Mia," Brosnan says of the film, which taps into similar theme of finding yourself — and, of course, love —at any age.
Another one of the film's emotional cores — dealing with a devastating loss — is one that hits especially close for Brosnan. In 1991, Brosnan lost his first wife Cassandra Harris to ovarian cancer. They had one son together, Sean, as well as her children from a previous marriage Charlotte and Christopher. (Brosnan remarried in 2001 to his wife Keely Shaye Smith, with whom he has two sons with, Dylan and Paris). "All of that life pain that I went through — somewhat publicly, somewhat privately — is in the past but I can certainly identify and draw upon it," he says of playing a part like Love Is All You Need's Philip, a man who is still dealing with his pain.
"This character and this movie and this script found me at the right time in my life to be able to sit still and explore my own tragedies, my own pain, my own loss, what it's like to be a single parent," Brosnan continues. "In the hands of Susanne Bier, you surrender to that and allow yourself to go there. It just made sense. Her style of direction is very quiet and specific, strongly so at times. But there's great liberation in there because of the cinematic style that she uses. There were many emblems within the story: fatherhood, being a widower, being a single parent, a man of business, being alone, being middle-aged, dealing with time, time past, time present, time future."
And time, it seems, has since been kind to Brosnan. Not just in terms of his rugged good looks, but finding peace and comfort within himself and his career. "I painted myself into a corner sometimes I feel with the style of performance I'd given or the kind of actor I was trying to create when I came to America with Remington Steele," Brosnan admits. "As you get older there's a loosening of the ties to the ego and the posturing of who you are and how you behave. There's an ease within my own being now and there's a confidence, simple as that really, with performing... there's a great joy in being an older actor now. You have to adapt to your age and your years. It's nothing but humble gratitude of having come down the road so far."
Then again, it's hard not to be humbled with gratitude when you have labor of love projects like the big screen adaptation of Nick Hornby's A Long Way Down (in which he stars alongside Aaron Paul, Toni Collette, and Imogen Poots, whom he refers to as "The Quartet...we were joined at the hip") and, of course, Love Is All You Need. Love, being the key word.
"It all melded together from day one," Brosnan recalls, adding, "[my cast and director] embraced me with such a warmth and generosity and I, in return, did the same and we just hit the ground running. The experience of filming on a day-to-day basis was nothing but joy. It's criminal how much fun we had. It was a magical summer." Who knew Bond was such a softie?
Love Is All You Need opens in limited release on May 3.
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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.