After teetering on the cusp of creative disaster, Marvel has finally put its Ant-Man film back on track, but the project - now on its second director - still looks like a bit of a question mark for the blockbuster studio. Luckily we might have some new answers flowing through the rumor mill. According to some new rumors from JoBlo, Paul Rudd's Scott Lang character will be a petty thief and single dad that steals the Ant-Man technology from Hank Pym, played by Michael Douglas. There are also whispers of the identity of the new villain, as the site also alleges that comic book character Darren Cross will be the film's central antagonist. In the comics, Cross is the founder of Cross Technological Enterprises, a large bio-tech firm that rivals other Marvel universe corporate giants like Stark Industries and Oscorp. Cross will reportedly have a suit similar to Ant-Man's but more militaristic, and might be played by Corey Stoll or Patrick Wilson. It's important to note that Cross' character in the comics takes on a Hulk-like appearance, but the film might not head in that direction, given the current rumors. Cross' cousin, William Cross, is also a villain named Crossfire in the comics.
While these are all rumors, and should be taken with the appropriately sized grain of salt, we wonder if Ant-Man would benefit from heading in a different direction villain-wise. Darren Cross is only the latest in a long parade of evil businessmen wreaking havoc in the Marvel universe. There's been Jeff Bridges' Obadiah Stane in the first Iron Man, Sam Rockwell's sniveling Justin Hammer in Iron Man 2, and Guy Pierce's Aldrich Killian in Iron Man 3. But even outside of Disney's output, comic book films are completely stuffed with corporate boogeymen. There's the enterprising Bolivar Trask in this year's X-Men: Days of Future Past, and yet another rendition of Lex Luthor via Jesse Eisenberg in the upcoming Batman v. Superman: Dawn of Justice.
The sinister businessman has remained a well used trope in the sprawling Marvel universe, and while it makes sense that Tony Stark would frequently bump heads with other enterprising industrialists, hearing that Ant-Man might also be clashing with big immoral businessmen has us wishing that the film would look for some other antagonists. Ant-Man, whose chief ability is to grow very small and still retain his normal strength, is comic book absurdity at its very finest, and the fact that he can communicate telepathically with ants makes it even more over the top. It feels like the powers that be at Marvel should have something zanier up their sleeves than yet another cutthroat capitalist in a three-piece suit that worships the American dollar. A weird hero should have even weirder rogues to do battle with.
With all that said, there might be more to Darren Cross than meets the eye. Maybe the character does turn into a giant pink Hulk in the film's climax? We'll just have to wait and see.
Looks like all that experience flying the TARDIS is about to pay off for Matt Smith: he’s just joined the cast of the upcoming Terminator: Genesis in an unspecified-but-important role. Deadline reports that the former Doctor will play a character with a strong connection to John Connor (Jason Clarke), who will also play a major role in the film’s sequels. Smith is the latest nerd-friendly addition to a cast that includes Game of Thrones’ Emilia Clarke, Divergent villain Jai Courtney, and Dayo Okeniyi from The Hunger Games. And of course, Arnold Schwarzenegger will be back to step back into his signature cyborg armor.
The franchise is a good fit for Smith, who already has plenty of experience jumping from time period to time period and planet to planet on Doctor Who. In fact, Smith is so good at handling rifts in time and space that we could see him fitting in, no matter when or where in time you dropped him. To prove this theory, we’ve crafted a timeline of Smith’s possible time travel adventures, using the most iconic time travel-based movies and TV shows. We start, of course, with the first major civilization…
- 410 BC: Smith’s first trip goes back to Ancient Greece, where he hopes to sit in on one of Socrates’ lectures, only to find out from one of the other students that “So-Crates” had hopped into a time machine and set off for the future to help two slackers in their intellectual pursuits. (Bill and Ted’s Excellent Adventure)- 528 AD: Smith finds himself in Camelot, where he convinces the King to make things right with his people before Merlin and Morgan Le Fay manage ursurp him. But first, there’s a little matter of jazzing up all that boring old chamber music… (A Connecticut Yankee in King Arthur’s Court)- 1400s: Climbing through a hole in the fabric of time, Smith arrives in Sherwood Forest, where he is recruited by Robin Hood his Merry Men, and a band of dwarves to help give to the poor. Well, he intends to, but once he finds out how insane Robin Hood is, he decides it might be better to head elsewhere and avoid getting killed. (Time Bandits)- 1621: Smith arrives in colonial America to find two talking turkeys scrambling around in an attempt to escape some hunters and put a stop to the first Thanksgiving. He decides to help them, thinking it will be funny, but discovers they’re just dumb and so he leaves it up to them to figure it out. How much trouble can two turkeys with a time machine cause, after all? (Free Birds)- 1920s: After he accidentally gets into the wrong car, Smith finds himself transported to 1920s Paris, where he hops from party to party with the Fitzgeralds and a fellow time traveler who wanted writing advice. He doesn’t remember much but he’s pretty sure someone actually had a lampshade on their head at one point. (Midnight in Paris)- 1955: There’s another mix up with cars, and Smith ends up crashing the Pine Valley prom, where he discovers that his best friend is actually his son. It takes a while to process, but his future wife is really pretty, even if there’s some weird tension there with their son. (Back to the Future)- 1959: Smith hops forward a few years, where he meets the smartest dog of all time and not-so-bright boy, and helps them work on a time machine of their own called the WABAC. They invite him to join in on an adventure, but Sherman accidentally hits the wrong button, and Smith is sent forward in time by himself… (Mr. Peabody)- 1981: To the early ‘80s, where he meets Alex Drake, who is determined to figure out how she ended up in the past (although if you ask Smith, he thinks she should be more concerned with the clown that’s following her around.) Luckily, he remembers a few things about Sam Tyler that should help nudge her investigation along, even if she probably won’t like what she discovers. (Ashes to Ashes)- 1984: Smith hops forward a few years, only to find himself caught in the crossfire of a murderous cyborg with an Austrain accent, and a human soldier who is trying to keep the cyborg from killing an innocent woman. Once he realizes that he will soon get to act out this scenario on a safe, closed, set, he hightails it out of there. (Terminator)- 1993: Somehow, Smith manages to jump to an alternate universe, and finds himself at Hogwarts castle, so he immediately searches out Harry, Ron and Hermione, and helps them save Buckbeak, then rides the hippogriff off into the sunset. It all goes smoothly, although Harry is confused as to why Smith keeps calling him “Dan.” (Harry Potter and the Prisoner of Azkaban)- 1994: The time turner can only turn so far, and Smith ends up a year in the future, where he agrees to help Max Walker investigate a crooked politician. He doesn't really care about the plot, he really just wanted the chance to hang out with Jean Claude Van Damme. (Time Cop)- 2004: After Smith and Walker arrive in 2004, he heads to a charming lake house to get in some R&R, only to find a guy staring forlornly at a mailbox, waiting for the flag to raise. It’s a little too sappy and maudlin for him, so he tells the guy to go chase after his love, or at the very least, to find a red pill that would put him in a more exciting sci-fi universe. (The Lake House)- 3000: Smith rockets forward to the end of the millennium, where he stumbles across a cargo-delivery company run by the most dysfunctional group of people he has ever met. Still, he lets himself get roped into drinking with the robot and his friends, and it’s the most fun he has on his whole trip. Too bad the accident-prone intern cut the party short by accidentally sending him forward in time. (Futurama)- 3978: Smith washes up on the beach of a weirdly familiar-looking planet, only to find that the natives – all of whom appear to be apes – aren’t thrilled with his presence. He manages to escape his capture and follows the shoreline in order to find a way home, only to discover, to his horror, the ruins of the Statue of Liberty. (Planet of the Apes)
Singer Ana Matronic fears there will be "bloodshed" and death on the streets of Russia following the shocking militia attack on members of Pussy Riot. The Scissor Sisters star was horrified by the incident at the site of the Winter Olympics in Sochi on Wednesday (19Feb14), when several members of the protest group and a photographer were beaten, whipped, and subdued with pepper spray.
Members of Russian's Cossack militia had moved in as the mainly-female collective began to perform a protest song about the country's President Vladimir Putin, and within minutes, film footage of the sickening attack went viral online.
Russian authorities are under increasing pressure to respond to the incident, and Matronic has now spoken out about the attack, telling the U.K.'s Channel 4 News, "I'm not exactly sure what should be done except for people to voice their outrage at this point. It's hard to say what the appropriate tack is. My only hope is that Pussy Riot continues to do what they do and continues to fight, because I believe in what they are fighting for.
"I think they are trying to provoke but I don't think they are asking to be beaten with whips... Nor do I think they should be beaten for voicing their beliefs, no matter what their beliefs are."
Matronic also predicted the "militant" response to the band's performance about oppression in the country could provoke a violent reaction from other protest groups and lead to severe unrest.
She adds, "And we are going to see bloodshed and we are going to see innocent lives lost in the crossfire and that is reprehensible to me."
Representatives from the International Olympic Committee issued a statement describing the images of Pussy Riot members being whipped as "extremely disturbing", but insisted any action should be left to Russian authorities.
Following the incident, the Pussy Riot stars vowed to continue with their human rights fight, saying, "We will shout the truth about Russia as loud as we can."
The Oscar nominations came out on Thursday morning, and as of now, it's anybody's race. Some say 12 Years a Slave has it in the bag, while others think American Hustle will snatch the Best Picture trophy. There's no one way to know for sure — does the Academy weigh emotional impact? Flashy performances? The film's lasting message?
How about titles? Yes, you can tell a lot about a film by its title, and about its Oscar chances, too. We've compiled some handy data about each Best Picture nominee's title and what it says about the film's chances come time to hand out the awards. (You can also head over to BBC America to check out this fantastic infographic that predicts the Best Picture winner!)
Movies with the word "America" in their titles......to win a Best Picture Oscar: 2 (An American in Paris; American Beauty) ...to get nominated for BP, but not win: 2 (America, America; American Graffiti)
Movies whose titles refers to a crime or act of duplicity......to win a Best Picture Oscar: 2 (Mutiny on the Bounty; The Sting)...to get nominated for BP, but not win: 11 (The Racket; She Done Him Wrong; Imitation of Life; Libeled Lady; Grand Illusion; The Caine Mutiny; The Hustler; Mutiny on the Bounty; The Killing Fields; The Fugitive; Traffic)
Columbia Pictures via Everett Collection
Movies with a main character's surname in their titles......to win a Best Picture Oscar: 10 (The Great Ziegfeld; Ben-Hur; Tom Jones; Patton; Annie Hall; Kramer vs. Kramer; Gandhi; Schindler’s List; Forrest Gump; Shakespeare in Love)...to get nominated for BP, but not win: 45 (Disraeli; Trader Horn; Arrowsmith; The House of Rothschild; Alice Adams; Captain Blood; David Copperfield; Ruggles of Red Gap; Anthony Adverse; Dodsworth; Mr. Deeds Goes to Town; The Story of Louis Pasteur; The Life of Emile Zola; The Adventures of Robin Hood; Goodbye, Mr. Chips; Mr. Smith Goes to Washington; Kitty Foyle; Citizen Kane; Here Comes Mr. Jordan; Sergeant York; Mrs. Miniver; The Magnificent Ambersons; Madame Curie; Wilson; Mildred Pierce; Johnny Belinda; Julius Caesar; Mister Roberts; The Diary of Anne Frank; Elmer Gantry; Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb; Mary Poppins; Doctor Zhivago; Who’s Afraid of Virginia Woolf?; Doctor Dolittle; Butch Cassidy and the Sundance Kid; Barry Lyndon; Prizzi’s Honor; Jerry Maguire; Good Will Hunting; Saving Private Ryan; Erin Brokovich; Capote; Michael Clayton; Lincoln)
Movies whose titles include a military rank......to win a Best Picture Oscar: o...to get nominated for BP, but not win: 6 (The Smiling Lieutenant; Captain Blood; Captains Courageous; Sergeant York; Saving Private Ryan; Master and Commander: The Far Side of the World)
DALLAS BUYERS CLUB
Focus Features via Everett Collection
Movies with a city name in their titles......to win a Best Picture Oscar: 4 (Cimarron; Casablanca; An American in Paris; Chicago)...to get nominated for BP, but not win: 18 (Hollywood Revue; Shanghai Express; San Francisco; In Old Chicago; The Philadelphia Story; Mr. Smith Goes to Washington; Casablanca; Roman Holiday; Peyton Place; Judgment and Nuremberg; Chinatown; Nashville; Fargo; L.A. Confidential; Gangs of New York; Munich; Letters from Iwo Jima; Midnight in Paris)
Movies whose titles seem like they should probably have a possessive apostrophe, but don't......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 4 (Boys Town; Kings Row; Dead Poets Society; Howards End)
Warner Bros via Everett Collection
Movies whose titles are a single intangible noun......to win a Best Picture Oscar: 1 (Crash)...to get nominated for BP, but not win: 8 (Alibi; Suspicion; Crossfire; Deliverance; Traffic; Atonement; Inception; Moneyball)
Movies whose titles end in "ity"......to win a Best Picture Oscar: 1 (From Here to Eternity)...to get nominated for BP, but not win: 3 (Double Indemnity; Atlantic City; Sense and Sensibility)
Warner Bros via Everett Collection
Movies whose titles are made up three letters or fewer......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 4 (Z; JFK; Ray; Up)
Movies that have the word "her" in their titles......to win a Best Picture Oscar: 1 (Ben-Hur)...to get nominated for BP, but not win: 1 (Hannah and Her Sisters)
Paramount via Everett Collection
Movies with U.S. state names in their titles......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 2 (In Old Arizona; Mississippi Burning) *Note: Mr. Smith Goes to Washington and Gangs of New York both refer to cities, not states, and the "Virginia" in Who's Afraid of Virginia Woolf is a human woman.
We loved Nebraska, but this is really the only one we could think of for it. Sorry, Alexander Payne. Sorry, everybody.
Weinstein Company via Everett Collection
Movies whose titles are just a main character's first name......to win a Best Picture Oscar: 5 (Rebecca; Hamlet; Marty; Gigi; Oliver!)...to get nominated for BP, but not win: 20 (Skippy; Cleopatra; Ivanhoe; Shane; Fanny; Cleopatra; Alfie; Lenny; Rocky; Julia; Norma Rae; Tess; Bugsy; Babe; Elizabeth; Seabiscuit; Ray; Juno; Precious; Hugo)
Movies whose titles were mispronounced by Leonardo DiCaprio on live television......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 0 (There can be only one Philomania.)
12 YEARS A SLAVE
Movies with numbers in their titles......to win a Best Picture Oscar: 6 (It Happened One Night; Around the World in 80 Days; The Godfather Part II; One Flew Over the Cuckoo’s Nest; Million Dollar Baby; Slumdog Millionaire)...to get nominated for BP, but not win: 36 (Seventh Heaven; Five Star Final; One Hour with You; 42nd Street; The Private Life of Henry VIII; One Night of Love; Broadway Melody of 1936; A Tale of Two Cities; Three Smart Girls; One Hundred Men and a Girl; Four Daughters; One Foot in Heaven; 49th Parallel; Henry V; Miracle on 34th Street; A Letter to Three Wives; Twelve O’Clock High; Seven Brides for Seven Brothers; Three Coins in the Fountain; The Ten Commandments; 12 Angry Men; The Defiant Ones; A Thousand Clowns; Anne of the Thousand Days; Five Easy Pieces; Born on the Fourth of July; The Godfather Part III; Four Weddings and a Funeral; Apollo 13; The Sixth Sense; The Lord of the Rings: The Two Towers; District 9; 127 Hours; Toy Story 3; Zero Dark Thirty)
Movies that refer to a unit of time in their titles......to win a Best Picture Oscar: 2 (The Best Years of Our Lives; Around the World in 80 Days) ...to get nominated for BP, but not win: 9 (One Hour with You; Lady for a Day; The Yearling; The Longest Day; Anne of the Thousand Days; Dog Day Afternoon; Remains of the Day; The Hours; 127 Hours)
THE WOLF OF WALL STREET
Paramount via Everett Collection
Movies whose titles include mention of an animal......to win a Best Picture Oscar: 3 (The Deer Hunter; Dances with Wolves; The Silence of the Lambs)...to get nominated for BP, but not win: 17 (Of Mice and Men; The Little Foxes; The Maltese Falcon; The Ox-Bow Incident; The Snake Pit; Cat on a Hot Tin Roof; To Kill a Mockingbird; The Lion in Winter; One Flew Over the Cuckoo’s Nest; Dog Day Afternoon; The Elephant Man; Raging Bull; Kiss of the Spider Woman; Crouching Tiger, Hidden Dragon; Black Swan; War Horse)
Movies whose titles include the name of a street......to win a Best Picture Oscar: 1 (The Broadway Melody) ...to get nominated for BP, but not win: 5 (42nd Street; The Barretts of Wimpole Street; Broadway Melody of 1936; Miracle on 34th Street; Sunset Boulevard)
Cast your bets, folks. Captain Phillips looks like it has this one locked down.
*Special thanks to Hollywood.com writers Julia Emmanuele and Jordan Smith for helping to compile data and entertaining the madness of this post, and to our CTO Greg Zimerman for recovering hours of work after my Word Doc crashed. You're a hero, Greg.
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Rocker Courtney Love is often propositioned by young actors eager to land the lead role in a planned biopic about her late husband Kurt Cobain. The former Hole singer has been working on the idea of turning the tragic Nirvana frontman's life story into a film for several years, and she recently hired Brett Morgan, the director of the Rolling Stones' Crossfire Hurricane documentary, to take charge of the project.
However, Love, 49, claims the news has turned her into a target for actors determined to bed her in the hope that she will cast them as Cobain - although she has stopped short of naming names.
She tells Fashion magazine, "I still get hit on by guys because they want to be cast in that Kurt Cobain biopic that's been in production for years. I could give you some (actors') names that would blow your mind, but I am so not sleeping with someone under 38."
Cobain died from a self-inflicted gunshot wound in 1994 at the age of 27.
Erik WeissWith The Killers set to release their first career retrospective, Direct Hits, next month, here's a countdown of their four studio albums, plus Brandon Flowers' solo effort, from worst to best.5. CrossfireFailing to make the most of the time away from his day-job, Brandon Flowers' solo album was a disappointingly lazy affair which apart from the glorious title track sounded like it had been cobbled together from rejects from The Killers' previous three records. Let's hope he doesn't play it so safe for next year's proposed follow-up.4. Battle BornDespite recruiting no less than five different producers, The Killers' fourth LP once again suggested that Flowers and co. were stuck in a creative rut with a string of overblown chest-beating numbers which were unfavourably compared with the likes of Meat Loaf and Bryan Adams.3. Sam's TownA deliberate attempt by Flowers to embrace his American heritage, Sam's Town was a blustery Springsteen-esque heartland rock affair which all but abandoned the Anglophile leanings of its predecessor with mixed results.2. Day & AgePossibly the band's most divisive record, Day & Age saw the band hook up with Madonna cohort Stuart Price on a glossy '80s-tinged effort which ventured into everything from electro-pop to Afrobeat to jazz-funk.1. Hot FussHome to a string of classic singles ("Mr. Brightside," "All These Things That I've Done," "Somebody Told Me," "Smile Like You Mean It"), 2004 debut Hot Fuss was a triumphant blend of new wave, post-punk and British indie-rock which instantly positioned The Killers as one of the greatest mainstream guitar bands of their generation.
Keith Richards has opened up about the state of his relationship with bandmate and songwriting partner Mick Jagger after upsetting the Rolling Stones frontman with revelations in his bestselling memoir. The guitarist poked fun at the size of the singer's manhood and took aim at him over his womanising ways, among other things, in the tome Life - and had to apologise to Jagger before the group could make plans for a 50th anniversary reunion tour last year (12).
Filmmaker Brett Morgen recently told WENN he was a party to the tensions between Richards and Jagger as he recorded interviews for his Crossfire Hurricane documentary, but insists things had started to "thaw" by the time he wrapped the movie.
Both rockers have acknowledged the feud Richards' revelations caused, with Jagger telling Rolling Stone magazine that an apology from his bandmate was a "prerequisite" for the band's 2012 reunion, which led to the ongoing 50 & Counting tour, and now the guitarist has spoken at length about the pair's current relationship.
He tells Men's Journal magazine, "(It's) smooth. Even. Definitely workable. Otherwise, we wouldn't be doing it. A lot of these things are blown way out of whack... It's like two very volatile brothers - when they clash, they really clash, but when it's over, it's over because we both know we need each other; we both enjoy working with each other.
"Ninety per cent of the time it's as cool as it can be, then, of course, the people only get to hear about the 10 (per cent). And the 10 are pretty fierce.
"It took him (Jagger) a while to come around... demanding apologies and all of this c**p. I'd say, 'Eh, I'm sorry I upset you'."
But Richards insists the fall-out from the feud won't prevent him and his songwriting partner coming together in the studio if they choose to record new material: "We could do that. It's not that we would seek each other out for fun or company... but we could definitely sit down and go, 'Let's go in the back room... I've got this song'.
"I've always found working with Mick is like a joy, it's a real pleasure. It's outside of the realm of work is where we tend to disagree."
Brett Morgen, the director of acclaimed new Rolling Stones documentary Crossfire Hurricane, almost found himself making a very different film about the band using former member Bill Wyman's treasured home video footage. While researching the latest Stones movie, the moviemaker got in touch with former bass player Wyman and learned the rocker had a trove of footage on the group he shot himself throughout the 1960s and 1970s, which he almost handed over to Morgen for another project.
The director tells WENN, "When I first met Bill, he had mentioned to me, prior to me doing this film, he was going to reach out to me about doing something with his archive because Bill was a fan of my documentary on Robert Evans, The Kid Stays in the Picture, as was Mick (Jagger).
"Bill was helpful with getting us newspaper archives and things like that, but the one thing that Bill wanted to hold on to was his 16mm footage of the band that he shot himself. I was desperate to get my hands on it but I wasn't able to pry it from Bill. Nor would he show me clips. He'd tease me about it.
"Bill is holding onto it now and it's something that he wants to leave for his children, and God bless him. I really loved every moment I had with Bill; he has an encyclopedic knowledge and he is like a fan, an informer. He was incredibly helpful with his perspective. I was thrilled to be able to work with him. I don't think we could have told the story without Bill."
And now Morgen has little interest in revisiting the Rolling Stones, so it's beginning to look like fans will have to wait until after Wyman's death to see his home video footage: "It would be very strange for me to go back and do another movie on the Stones. I feel like I've done my Rolling Stones story."
But the filmmaker is urging others to pick up where he left off, insisting there's a fascinating documentary to be made about the life and death of Brian Jones.
He adds, "I think there's much more to Brian Jones' story... The interviews I had with the band, we could have done an entire film just on Brian that would have been revealing and illuminating.
"It was a great challenge to distill the Brian Jones story and not... In my first cut of the film, the '60s were almost entirely wrapped around Brian Jones, probably a little too much."
The man behind the Rolling Stones' stunning new documentary Crossfire Hurricane has his sights set on making an all-anime version of rockers' Motley Crue's story. Brett Morgen sat down with the Stones to create a powerful new look at their career highs and lows and he has already moved on to start work on a film study of tragic Nirvana frontman Kurt Cobain - but there's still one dream documentary he'd like to tackle.
He tells WENN, "A dream project of mine is to do a Japanese anime documentary on Motley Crue. That will give me my 1970s, 1980s and 1990s trilogy with the Stones, Motley Crue and Kurt."
Documentary maker Brett Morgen is glad his new Rolling Stones movie Crossfire Hurricane did not follow the band past 1981, because he didn't have to revisit the drama of Mick Jagger and Keith Richards' fabled feud while the bandmates were still at war over remarks the guitarist had made about his frontman in his memoirs. The bandmates were still not on speaking terms when Morgen started recording audio for his film because Jagger was still upset about items Richards had chosen to make public in his bestseller, Life - poking fun at the size of the singer's manhood and his womanising ways - and the director didn't fancy raking over old feuds with the two superstars.
He tells WENN, "I knew there would be sensitivities with Mick and Keith dealing with World War Three, as Keith called it - the 1980s. Ending the film in 1981 was a nice way of getting out before we get to that.
"There was definitely tension when we started. When I first spoke to Mick, he hadn't spoken to Keith in some time and during the time I was making the film they got together for the first jam session and things started to thaw.
"But their ongoing rift was something that was discussed outside the context of the interviews I did for the film. I would talk to Mick or Keith about it before we'd start recording. That was quite interesting. I felt like a kind of a go-between... It was a strange position to be in."
But Morgen admits he and Jagger clashed over his decision to end the arc of film in 1981: "The biggest clash came over where the film resolved itself. Mick was extremely concerned that I would be dismissing the past 25 years of what he's been doing, but I wasn't.
"I felt if I was to go beyond that, it would be like, 'And then, and then we did this, and then we did that...' It would be much more disjointed. I had concluded my story."