Casting is one of the most important and mysterious parts of filmmaking. Not only are actors selected based on their chemistry, skill, and buzz, there is also a whole mess of behind-the-scenes coordination. Actors have missed out on major career-defining roles for all sorts of reasons. Iconic roles like Indiana Jones, Wolverine, and Marty McFly all had different original actors. Careers, film history, and even a major celebrity marriage have all been forever altered by casting changes. Some actors have missed out on A-list careers. Here are a few of the most shocking movie casting changes.
GALLERY: Shocking Movie Roles That Were Recast
Aaron Paul feared for his director's safety on the set of Need For Speed after the moviemaker placed his life in the actor's hands during a scary stunt. The Breaking Bad star was asked to perform a spectacular car manoeuvre for the racing film, pulling up to a stop in front of moviemaker Scott Waugh, who was holding a camera.
However, Paul admits the stunt made him feel uneasy as it could easily have gone horribly wrong.
He tells New York Post gossip column Page Six, "The scariest was a specific shot where the director wanted me flying at the camera and just skidding to a stop... Someone was holding that camera, so I was a little nervous to hit the person, and that was our director. And he said, 'If you hit me, don't worry about it, I'll just roll over the car,' and that didn't make me feel good about the situation."
Mary J. Blige, Maxwell, Jill Scott, Jennifer Hudson, A$AP Rocky and Rick Ross are among the artists who have been tapped to perform at the BET Experience at L.A. Live music festival from 27 to 29 June (14) in Los Angeles. The three-day event will be capped off by the annual BET Awards on 29 June (14).
U.S. leader Barack Obama's TV interview skit with The Hangover star Zach Galifianakis became a huge Internet hit on Tuesday (11Mar14), and provided a big boost to the President's new healthcare initiative. Funnyman Galifianakis was stunned when Obama's aides reached out to FunnyOrDie.com bosses, who air the bearded star's irreverent web series Between Two Ferns, and asked if the zany comic would be interested in sitting down with Obama.
Director/comedian Scott Aukerman explains, "The White House came to us and really wanted to do it. They really wanted to get the word out about the Affordable Care Act and they were looking for interesting ways to do it."
During the spoof chat Obama was grilled on topics such as North Korea, his birth certificate and being "a nerd".
The video quickly took off on the Internet. It premiered at 7am in New York and in just two hours, the online interview had been viewed by three million people - and the FunnyorDie skit became the number one referral to Obama's Healthcare.gov website.
Actor Jake Gyllenhaal gave onlookers an eyeful while filming mountain thriller Everest in Rome, Italy over the weekend (08-09Mar14) after disrobing for a nude scene. The bearded star, who portrays real-life adventurer Scott Fischer in the film, was photographed completely naked during one take, with just a small piece of black material taped to his crotch to cover his manhood.
The movie is based on author Jon Krakauer's book Into Thin Air, which documents the tragic 1996 Mount Everest disaster that claimed the lives of eight climbers, including Fischer, and left several others stranded.
Krakauer himself was a survivor of the tragedy.
Zero Dark Thirty star Jason Clarke will play Hall, while Josh Brolin is also part of the cast.
Gyllenhaal is no stranger to stripping off on camera - he previously disrobed for Brokeback Mountain and Love and Other Drugs.
Director Lynne Ramsay has reached a legal settlement with producers behind Natalie Portman's new western Jane Got A Gun after quitting the project on the eve of filming. Production was thrown into chaos last March (13) after the Scot abruptly walked away from the movie, forcing executives to delay the shoot.
Film bosses, led by Scott Steinfdorff, filed suit against Ramsay in November (13), accusing her of breach of contract and fraud, after taking a $750,000 (£468,750) payment for a job she didn't complete, but the two parties have since reached a deal to avoid going to court.
A joint statement obtained by ScreenDaily.com reads: "Jane Got a Gun Production LLC and Lynne Ramsay announce the pending civil action and all other disputes between the parties associated with Jane Got a Gun Motion Picture have been resolved privately and to their mutual satisfaction."
Details of the agreement have not been revealed.
The We Need to Talk About Kevin director was subsequently replaced by Gavin O'Connor.
Ramsay's exit wasn't the only drama surrounding the movie - Michael Fassbender was replaced by Jude Law, who was in turn replaced by Bradley Cooper, who exited the film last May (13).
Original stars Portman and Joel Edgerton were eventually joined by Ewan McGregor when filming got underway last summer (13).
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One of President Barack Obama's biggest claims to fame is his relatability, and it turns out that just like everyone else, even the leader of the free world wants to commit various acts of war against Zach Galifianakis. In the latest episode of the long-running web series Between Two Ferns with Zack Galifianakis (which you can watch at the bottom of the page), the POTUS indulges the comedian with quite the antagonistic interview, and things almost reached a red "severe" rating on the awkward meter. But seriously, we enjoyed the dynamic between Galifianakis and President Obama so much, we dreamt up alternate versions of Galifianakis movies where the two team up for some downright presidential shenanigans.
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Due Date: Barack Obama and Zach Galifianakis only have two days to make it across the country so that Obama can hand in his application for the 2008 presidential election before the deadline. So many high jinks ensue.
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The Hangover Part III: The night before his second inauguration, Barack Obama parties it up with Zach Galifianakis, but wakes up to next day with a missing tooth, a "Romney 2012" face tatoo, and no idea where he put those pesky nuclear launch codes. The duo only have a few hours to track down a missing Michelle Obama before the inauguration begins.
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The Campaign: A searingly realistic and intimate dramatic retelling of the 2012 presidential election with Barack Obama playing himself, and Zach Galifianakis playing a unbelievably convincing Mitt Romney. I smell Oscars.
Check out the terrific Between Two Ferns episode below:
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Hollywood is cyclical. People shift in and out of importance all the time. Orange Is the New Black is responsible for the return of Natasha Lyonne, Kate Mulgrew, and Jason Biggs. It’s also set to bring back Point Break star Lori Petty. Betty White and Joan Rivers are also having a major career resurgence. Peter Scolari is on Girls. Angela Bassett is on American Horror Story. People are popping back into the limelight all the time. Here are a few nominations of actors that need to step back into center stage.
GALLERY: 14 Actors We Must Rescue From Obscurity
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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You don't arrive at the Grand Budapest Hotel without your share of Wes Anderson baggage. Odds are, if you've booked a visit to this film, you've enjoyed your past trips to the Wes Indies (I promise I'll stop this extended metaphor soon), delighting especially in Rushmore, The Royal Tenenbaums, and his most recent charmer Moonrise Kingdom. On the other hand, you could be the adventurous sort — a curious diplomat who never really got Anderson's uric-toned deadpan drudgings but can't resist browsing through the brochures of his latest European getaway. First off, neither community should worry about a bias in this review — I'm a Life Aquatic devotee, equally alienating to both sides. Second, neither community should be deterred by Andersonian expectations, be they sky high or subterranean, in planned Budapest excursions. No matter who you are, this movie will charm your dandy pants off and then some.
While GBH hangs tight to the filmmaker's recognizable style, the movie is a departure for Anderson in a number of ways. The first being plot: there is one. A doozy, too. We're accustomed to spending our Wes flicks peering into the stagnant souls of pensive man-children — or children-men (Moonrise) or fox-kits (guess) — whose journeys are confined primarily to the internal. But not long into Grand Budapest, we're on a bona fide adventure with one of the director's most attractive heroes to date: the didactic Gustave H. (Ralph Fiennes mastering sympathetic comedy better than anyone could have imagined he might), who invests his heart and soul into the titular hotel, an oasis of nobility in a decaying 1930s Europe. Gustave is plucked from his sadomasochistic nirvana overseeing every cog and sprocket in the mountaintop institution and thrust into a madcap caper — reminiscent of, and not accidentally, the Hollywood comedies of the era — involving murder, framing, art theft, jailbreak, love, sex, envy, secret societies, high speed chases... believe me, I haven't given half of it away. Along the way, we rope in a courageous baker (Saoirse Ronan), a dutiful attorney (Jeff Goldblum), a hotheaded socialite (Adrien Brody) and his psychopathic henchman (Willem Dafoe), and no shortage of Anderson regulars. The director proves just as adept at the large scale as he is at the small, delivering would-be cartoon high jinks with the same tangible life that you'd find in a Billy Wilder romp or one of the better Hope/Crosby Road to movies.
Anchoring the monkey business down to a recognizable planet Earth (without sacrificing an ounce of comedy) is the throughline of Gustave's budding friendship with his lobby boy, Zero (newcomer Tony Revolori, whose performance is an unprecedented and thrilling mixture of Wes Anderson stoicism and tempered humility), the only living being who appreciates the significance of the Grand Budapest as much as Gustave does. In joining these two oddballs on their quest beyond the parameters of FDA-approved doses of zany, we appreciate it, too: the significance of holding fast to something you believe in, understand, trust, and love in a world that makes less and less sense everyday. Anderson's World War II might not be as ostensibly hard-hitting as that to which modern cinema is accustomed, but there's a chilling, somber horror story lurking beneath the surface of Grand Budapest. Behind every side-splitting laugh, cookie cutter backdrop, and otherworldly antic, there is a pulsating dread that makes it all mean something. As vivid as the worlds of Rushmore, Tenenbaums, Fantastic Mr. Fox, and Moonrise might well have been, none have had this much weight and soul.
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So it's astonishing that we're able to zip to and fro' every crevice of this haunting, misty Central Europe at top speeds, grins never waning as our hero Gustave delivers supernaturally articulate diatribes capped with physically startling profanity. So much of it is that delightfully odd, agonizingly devoted character, his unlikely camaraderie with the unflappably earnest young Zero, and his adherence to the magic that inhabits the Grand Budapest Hotel. There are few places like it on Earth, as we learn. There aren't many movies like it here either.
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