Director Lee Daniels is helping supermodel Naomi Campbell make her big screen acting return by casting her in his upcoming Richard Pryor biopic. The filmmaker recently recruited the British beauty for a recurring role in his new TV drama series Empire, alongside Terrence Howard and Taraji P. Henson, and now Campbell will have a role in his next project, too.
She revealed the news during an interview on U.S. breakfast show Today on Friday (23Jan15) as she discussed her appearance on Empire, saying, "I'm grateful to Lee Daniels (for casting her in Empire)... and also Richard Pryor, his new film, with Oprah (Winfrey), Mike Epps, Kate Hudson."
Campbell stopped short of sharing any further details about her part.
The Hangover funnyman Epps will portray the late comic legend in the new biopic, with Hudson taking on the role of his wife, Jennifer Lee Pryor, and Selma star Oprah Winfrey as his grandmother.
Production is expected to begin at the end of March (15).
Pryor died in 2005, aged 65, after suffering a heart attack.
Campbell last featured on the movie screen in 2009 Bollywood film Karma, Confessions and Holi, while she also previously appeared in 1999 comedy Trippin'.
Actress Kate Hudson has joined the cast of Lee Daniels' Richard Pryor biopic as the late comedian's wife. The Almost Famous star will take on the role of Jennifer Lee Pryor alongside Mike Epps as the funnyman, while media mogul Oprah Winfrey will play his grandmother.
And Daniels cannot wait to get started on the movie, saying, "I'll start pre-production in January and shoot at the end of March, beginning of April, in New York, Los Angeles and San Francisco.
"It's been so great because I haven't really worked on a film in over a year. I'm anxious to be getting behind the camera."
Pryor died in 2005, aged 65, after suffering a heart attack. He spent years battling multiple sclerosis prior to his death.
You’d be surprised to find out how many actors work together multiple times. There are so many people in Hollywood and even more trying to break onto the scene, but these actors just love working together multiple times.
For the sake of not listing every Adam Sandler movie ever (that guy does movies with the same 5 people) or creating a Matt Damon/Ben Affleck bro-list, this list is strictly a man and a woman who have worked together. In most cases, the man and woman have always played love interests, or at least good friends (or co-crime fighters who protect the Earth from Aliens and HYDRA).
Kate Hudson and Matthew McConaughey
How To Lose A Guy In 10 Days
Kate Winslet and Leonardo DiCaprio
GIPHY/20th Century Fox
Tom Hanks and Meg Ryan
You’ve Got Mail
Sleepless in Seattle
Julia Roberts and Richard Gere
Adam Sandler and Drew Berrymore
The Wedding Singer
GIPHY/New Line Cinema
50 First Dates
Scarlet Johansson and Chris Evans
The Perfect Score
Captain America: The Winter Soldier
The Nanny Diaries
GIPHY/the Weinstein Company
Ansel Elgort and Shailene Woodley
Brother and sister in a dystopian world.
The Fault In Our Stars
GIPHY/20th Century Fox
Love interests. Both movies were released in the same year, in case you forgot or didn't know.
Bradley Cooper and Jennifer Lawrence
Silver Linings Playbook
GIPHY/The Weinstein Company
Kristen Wiig and Jon Hamm
Friends With Kids
Helena Bonham Carter and Johnny Depp
Sweeney Todd: The Demon Barber of Fleet Street
And basically every other Tim Burton movie, ever.
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Occasionally, Lullaby is the story of one particular family struggling with the imminent death of its mensch of a patriarch (Richard Jenkins) following his long battle with cancer. But for some reason, the movie can't live with being only that. Lullaby wants to reach everybody, to cover all possible constructs of the grieving process, to deliver the ultimate cinematic depiction of untimely death. In stuffing itself with so many varied elements, however, Lullaby feels no longer like the story of any cohesive family, relegating itself to an array of moments that you'll probably recognize from past films about cancer (or contemporary ones, for that matter) and recall seeing handled a lot better in those movies, to boot.
When debut writer/director Andrew Levitas lets his characters run organically, he earns his best material: Jenkins plays dying dad Robert Lowenstein with terrific humanity, holding fast to his decision to emancipate himself from life support while catering to the emotional whims of his reserved wife (Anne Archer), defiant daughter (Jessica Brown Findlay), and black sheep son Jonathan (Garrett Hedlund), the focal character in the story. Jenkins is the film's power source, peppering his slow drift toward the inevitable with good natured snark and some bona fide dad jokes — there are a few dynamite puns in this picture, rest assured — and instances of authentic sentiment. Hedlund returns the favor as the prickly runaway who has never forgiven his dad for getting sick, but pales in comparison to the soft grins of his screen partner.
If left alone with the simple grandeur of the above, the Lowensteins might brave a storm worth watching. But Lullaby compulsively tosses in an abundance of contrivances in a counterintuitive effort to courier the emotional reach to all audiences (or maybe it's just out of desperation for script filler). At various points in the movie, we learn about conflicts involving family inheritance, the Lowensteins' Jewish heritage, a hostile nurse (Jennifer Hudson, giving a performance that at the very least toes the line of racism) who is apparently the sole staff member in a gigantic New York City hospital, and Jonathan's relationship with ex-girlfriend Emily (Amy Adams) — a character with absolutely no place in this story — each introduced more abjectly than the last, and none commanding any presence of import.
The problem with all of these elements isn't simply their existence, but the insincerity with which they are all handled. Late in the movie, a conversation about an otherwise unmentioned automobile demands the gravity of an established metaphor, just one of many scenes that doesn't earn the catharsis it seems bent on establishing. The biggest culprit here might be the material surrounding Jessica Barden's Meredith, a cancer-stricken 17-year-old who the movie utilizes as Jonathan's Jiminy Cricket figure (taking form as both sage otherworldly symbol, despite going out of her way to introduce herself as "human" when they first meet, and a victim prime for the saving). Though the most egregious example of the movie's reliance on go-to schmaltz, Meredith is hardly the lone problem.
As a result of its proclivity to pluck away at the harp strings at every turn, when Lullaby does shoot for that real, it comes off as bizarre and misplaced. These issues notwithstanding, the rougher, more guttural moments in the film are indeed its most shining examples of humanity. If Lullaby were satisfied keeping its Lowensteins confined to the close quarters of Robert's hospital bed — fighting, crying, laughing at nurses, talking about baseball, dealing with (literal) s**t, and making dad jokes — we'd have what we likely came for: a touching, difficult story about people dealing with a true problem. But instead, the film chooses to favor of the big over the real.
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Columbia Pictures via Everett Collection
"Who you gonna call?" If you had shouted that anywhere in the country during the summer of 1984, a multitude of voices would've screamed "Ghostbusters!" back at you.
The paranormal comedy starring Bill Murray, Dan Aykroyd and Harold Ramis and directed by Ivan Reitman was an immediate smash with its mix of broad humor and special effects hitting a home run with kids and their parents. You probably remember the giant Stay-Puft Marshmallow Man that nearly destroys New York, but here are some fun facts that you might not know.
When Aykroyd was originally writing his script for the movie he intended for John Belushi and Eddie Murphy to play Peter Venkman and Winston, the roles that eventually went to Murray and Ernie Hudson. Belushi died while he was still working on the script and the shooting schedule for Beverly Hills Cop forced Murphy to drop out.
John Candy was cast initially in the role of Louis, who becomes possessed by the Keymaster. Candy quit after Reitman wouldn't let him do the character his way, which included speaking with a German accent. He was replaced by Rick Moranis, who was Candy's longtime costar on SCTV.
It's all in the marketing. The initial advertising for the movie was simply posters with the "No Ghost" logo, followed by the Ghostbusters' car (Ecto-1) being driven around New York City without explanation.
After the movie opened, Reitman created a trailer out of the commercial in the film which gave a working 800 number. The number led to a message of Murray and Aykroyd saying that they were out catching ghosts. It reportedly received an average of 1,000 calls an hour every hour for six weeks.
Stay-Puft Marshmallows is not a real product, but in the movie there's a pack of them in Sigourney Weaver's apartment as well as a billboard on the side of a building advertising them.
Rietman was originally planning on doing a film version of Douglas Adams' The Hitchhikers Guide to the Galaxy. When the director and his producing partners contacted Aykroyd about being part of the project he instead pitched them his ghost movie.
The famous theme song by Ray Parker Jr. was number one on the Billboard charts for three weeks. Parker has said in interviews that he was inspired to write the song as a jingle in line with the commercial in the film after he saw a TV spot for a local plumber while trying to overcome a bout of writer's block. Huey Lewis apparently disagreed with that version of events since he sued Parker claiming that the melody plagiarized his song "I Want a New Drug." The dispute was resolved by an out-of-court settlement.
On the DVD commentary, Rietman confirms that Aykroyd's original script was set in the future where there were teams of Ghostbusters all over the world, with sci-fi touches like the Ecto-1 flying, and would've been too expensive to shoot. Ramis, who co-wrote Animal House and Caddyshack, was brought in to tone down Aykroyd's vision.
Ramis originally wasn't going to act in the movie, even though he had previously starred with Murray in Reitman's Stripes. He joined the cast after he formed a close association with the character while writing the script.
Ramis' character Dr. Egon Spengler was named after German philosopher Oswald Spengler who wrote The Decline of the West, which argued that all civilizations eventually break down.
Paul Reubens (Pee-Wee Herman) was originally offered the role of Gozer the Destructor. After he declined, the role was reworked and went to Yugoslavian model Slavitza Jovan.
Michael Keaton was in discussions for both the Venkman and Louis roles but turned them both down. Chevy Chase was also considered for Venkman, while Jeff Goldblum and Christopher Walken were among those talked about as possible Egons. Comedian Sandra Bernhard was offered the role of the Ghostbusters secretary that eventually went to Annie Potts, while Michael McKean was one of the other actors considered to replace Candy in the Louis role.
A real jail was used for the scene where the Ghostbusters are locked up, and Aykroyd believed the location to actually be haunted.
The exterior for the Ghostbusters headquarters is the real Hook and Ladder No. 8 Firehouse in the famous Tribeca neighborhood of Lower Manhattan. The location was almost closed as part of the city's budget cuts in 2011, but was one of 19 firehouses saved in a restructured plan by then Mayor Michael Bloomberg.
The movie was the first to have veteran broadcaster Larry King appear as himself, while porn actor Ron Jeremy and pop songstress Debbie Gibson were both extras during the filming.
The scene where Weaver levitates was done in the same manner as a magician uses in a stage show. Reitman had worked with illusionist Doug Henning on the Broadway show Merlin and was familiar with how the trick was done.
Actor William Atherton, who plays the Ghostbusters' nemesis Walter Peck, has long claimed in interviews that for years after the movie was released he would have people yelling at him on the street for his treatment of Murray and company. He said that it even led to physical altercations in bars. Atherton went on to play sleazy reporter Richard Thornburg in Die Hard and Die Hard 2.
The ghost that wreaks havoc on the Sedgewick Hotel didn't have a name in the script. The model that was used on set was nicknamed "Onion Head" because of its smell and Aykroyd joked that it was the ghost of Belushi. Fans of the movie started calling it Slimer and the name stuck, eventually being used in the animated series that the movie spawned.
Unbeknownst to the producers, Filmation had made a short-lived animated series in 1975 called The Ghost Busters. Heading off a potential lawsuit, Columbia paid Filmation a fee for using the name.
Murray agreed to do the movie only if Columbia Pictures would provide the funding for a film version of the W. Somerset Maugham novel The Razor's Edge that he would star in. Murray's pet project was released later in 1984 and made $6.6-million at the box office. Ghostbusters grossed more than $238-million in the United States alone.
SLASH, Jason Mraz, Richard E. Grant and Terry Gilliam have added music and memories to Johnny Depp's new movie about artist Ralph Steadman. Depp signed on to narrate documentary For No Good Reason about the life and work of the British cartoonist last year (13), and the finished film also features many other famous friends.
Created over 15 years by filmmaker Charlie Paul, For No Good Reason includes footage of Steadman at work and anecdotes from late writer Hunter S. Thompson, who formed a bond with the Brit in the 1970s and used his illustrations in books like Fear & Loathing in Las Vegas, which was adapted for the big screen and starred Depp.
Gilliam, who directed the 1998 film, and Grant offer tributes, while Steadman fans Slash, All American Rejects, Mraz, James Blake, Ed Harcourt and Crystal Castles created music for the film's soundtrack.
For No Good Reason opens in limited release in America later this month (Mar14).
Singers Jennifer Hudson and Ellie Goulding performed at a youth empowerment event in London on Friday (07Mar14) to thank youngsters for their charity work. The inaugural U.K. concert at Wembley Arena was held to celebrate and promote kindness by young Brits, and all 12,000 guests had earned their ticket by completing acts of local and global service.
Goulding and Hudson thrilled revellers alongside other stars including rapper Dizzee Rascal and British singer/songwriter Birdy, and the entertainment was broken up by inspirational speeches from public figures such as tycoon Sir Richard Branson and former U.S. Vice President Al Gore.
Goulding wrote on Twitter.com ahead of the show, "Today I am delighted and honoured to perform at We day. Inspiring today's youth to change the world."
Prince Harry also delivered a speech at the event, while casually dressed in a shirt and jeans, and he began by cracking a joke: "You were probably hoping for Harry Styles so I'm sorry to disappoint you - no, I'm not going to sing!"
Harry's girlfriend Cressida Bonas, his cousin Princess Beatrice, and U.S. TV actors Jacob Artist and Shay Mitchell also attended the daytime event.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Cory Monteith's cousin has paid a touching tribute to his "hero" following the death of the tragic Glee actor. Monteith, who played Finn Hudson on the hit musical TV show, was found dead in his hotel room in Vancouver, Canada on Saturday (13Jul13) and his relative, Richard Monteith, has expressed his heartache over losing such a "beautifully genuine soul".
Richard acknowledged that his cousin's life had "started out rough" but that only drove him to succeed, becoming an inspiration to those around him.
He tells Canada's Global News, "It's like my hero died. He would do anything for anyone - give you the shirt off his back. (Because of his success on Glee) he was able to do what he wanted, and supply his family with what he wanted to. And he was at the top - he was where he wanted to be.
"He's my hero because he made me believe that your whole life... everyone tells you you can't do it, you can't make it. And he's the only one that made me believe that I could do it. I can make it, I could be a singer, I could be an actor, I could be whatever I wanted to be... He told me no matter how long your tunnel is - just know there is always a light at the end of the tunnel. He was that light for me.
"His life was full of beautiful stories, triumphs, failures and successes that it does not matter what his problems were... it matters how many lives he changed and that he was genuine."
An autopsy to discover the actor's cause of death took place on Monday (15Jul13) and the results are expected to be released on Tuesday (16Jul13).
Stars including Goldie Hawn, Kate Hudson and Gerard Butler gathered on Monday (08Jul13) to help tennis ace Novak Djokovic raise $1.7 million (£1.1 million) for his charity. Hawn and her daughter Hudson served as event chairs at the glittering gala alongside former British royal Sarah Ferguson, Duchess of York, supermodel Naomi Campbell and former tennis champion Boris Becker.
Actor Jeremy Piven joined British TV presenter Jonathan Ross and Hudson on stage at the Roundhouse venue in London for a mini tennis match, while Becker provided the commentary.
Guests bid on auction prizes including a yacht getaway with Hawn and Hudson, a signed guitar by The Rolling Stones' Ronnie Wood and a seven-day holiday at Sir Richard Branson's private island.
Djokovic says of the event, "I am delighted to be joined... by friends and family to support a cause which is so close to my heart. The Foundation works alongside young children in Serbia to provide support, encouragement and resources so they can fulfil and nurture their dreams. With the help of such generous people, our vision is to expand our work to the U.K. and America and transform the lives of more children around the world."
All funds raised during the evening will benefit the Novak Djokovic Foundation, which aims to support vulnerable and disadvantaged children, especially in the tennis star's native Serbia.
The event took place just a day after Djokovic lost the Wimbledon Championships men's singles title to Andy Murray on Sunday (07Jul13).