JRR Tolkien’s family hit out at new biopic film

The family of author JRR Tolkien have said they do not approve of the upcoming biopic film made about his life.
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Elton John biopic Rocketman will premiere at Cannes

The Elton John biopic Rocketman will premiere at the Cannes Film Festival next month.
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Bohemian Rhapsody: Queen biopic surpasses $900m at box office

The Oscar-winning film already stands as the highest-grossing music biopic of all-time.
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Steven Spielberg in Early Talks to Direct Leonardo DiCaprio in Ulysses S. Grant Biopic

Steven Spielberg and Leonardo DiCaprio are in early talks to collaborate on a Ulysses S. Grant biopic at Lionsgate. There’s no deal in place for Spielberg to direct, and Lionsgate had no comment on the report. The Grant project was set up at Lionsgate with DiCaprio and Appian Way partner Jennifer Davisson producing a movie […]

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Angelina Jolie Producing Biopic on Native American Athlete Jim Thorpe

Angelina Jolie and Escape Artist Productions’ Todd Black and Steve Tisch will produce “Bright Path: The Jim Thorpe Story,” the upcoming feature about legendary Native American athlete Jim Thorpe. Martin Sensmeier will executive produce and star as the world-renowned athlete. Abraham Taylor is also on board to produce. Taylor, Alex Nibley and Sterlin Harjo penned […]

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Bryan Singer Fired From Queen Biopic ‘Bohemian Rhapsody’

Fox has fired Bryan Singer as director of “Bohemian Rhapsody,” three days after halting production due to the “unexpected unavailability” of Singer. “Bryan Singer is no longer the director of ‘Bohemian Rhapsody,’” the studio said Monday. Fox did not elaborate. Filming has been taking place in the U.K. with “Mr. Robot” star Rami Malek in […]

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‘Fifty Shades’ Actor Jamie Dornan to Star With Rosamund Pike in Marie Colvin Biopic (EXCLUSIVE)

Jamie Dornan has signed on to co-star with Rosamund Pike in the Marie Colvin biopic “A Private War.” “Cartel Land” helmer Matthew Heineman is directing the movie. The biopic is produced by Thunder Road Pictures’ Basil Iwanyk and Kamala Films’ Marissa McMahon, as well as Denver & Delilah Films. Erica Lee is the executive producer. […]

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J.R.R. Tolkien Biopic Draws Finnish Director Dome Karukoski

Finnish director Dome Karukoski will helm a biopic on J.R.R. Tolkien. Fox Searchlight and Chernin Entertainment have been developing the project since 2013. Tolkien’s epic novels — set in Middle Earth — served as the basis for the film trilogies “The Lord of The Rings” and “The Hobbit.” The movie’s script by David Gleeson and… Read more »

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Felicity Jones to Star as Ruth Bader Ginsburg in Biopic ‘On the Basis of Sex’

Felicity Jones will star as Supreme Court Justice Ruth Bader Ginsburg in the biopic “On the Basis of Sex,” with shooting starting in Montreal in September. Mimi Leder is directing from Daniel Stiepleman’s script, which was named to the 2014 Black List and detailed the numerous obstacles in her fight for equal rights throughout her… Read more »

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Tupac Biopic ‘All Eyez on Me’ Premieres in Westwood

It took an entire decade, filled with no shortage of controversy, but director Benny Boom’s Tupac Shakur biopic “All Eyez on Me” finally unspooled for a crowd that included cast, crew, and a number of Tupac contemporaries Wednesday night at Westwood Theaters in Los Angeles. After a packed and chaotic red carpet scramble – attendees… Read more »

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Cannes: ‘I, Daniel Blake’ Writer, BBC Films Board Carlos Acosta Biopic (EXCLUSIVE)

BBC Films is set to produce a biopic of Cuban ballet superstar Carlos Acosta from “I, Daniel Blake” writer Paul Laverty. Germany’s The Match Factory will handle worldwide sales on the project, titled “Yuli,” and introduce it to buyers in Cannes. Currently in pre-production, “Yuli” will see the world-renowned dancer star as himself, with two… Read more »

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Blond Ambition: Madonna lashes out against biopic

Madonna has lashed out against an unauthorised biopic reportedly in the works at Universal Studios.
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Twitter Couldn’t Handle How Terrible Lifetime’s Britney Spears Biopic Was

No one expects an unauthorized Lifetime movie to be good ― or even 100 percent accurate, for that matter ― but the network’s Britney Spears biopic, “Britney Ever After,” which premiered Saturday night, has permanently lowered our expectations. 

The movie, which was not approved by Spears or her team, aired just days after the 10-year anniversary of the time the singer shaved her own head. The incident was included in the film, but like many other things in the movie, Lifetime didn’t get everything quite right

This exasperated fans on Twitter to no end. They took issue with the flagrant anachronisms of having flat screen TVs and iPhones in the early 2000s, for example:

Meanwhile, the casting of actors who looked nothing like their real life counterparts was also a big complaint: 

Others were incredibly peeved by the fact that Lifetime couldn’t even get some of Spears’ most iconic outfits and costumes right.

The filmmakers took some liberties with the legendary matching denim outfits that Spears and Justin Timberlake wore to the 2001 American Music Awards: 

The low-budget quality of the costumes Spears wore in the film were also a point of contention:

Then there was the whole issue of making a Britney Spears biopic without including any of her music:

Oh, and there was the godawful post-breakup dance-off scene (which is something that reportedly actually happened), which is what you get for casting actors with no dance experience: 

And at times, the cheesy dialogue was just an insult to everyone involved: 

Overall, “Britney Ever After” left Spears fans wanting much more for the pop princess. 

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Comedy – The Huffington Post
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RBG Says Natalie Portman ‘Insisted’ On Female Director For Biopic

Natalie Portman reportedly refused to sign on to the upcoming Ruth Bader Ginsburg biopic until it had a female director.

Portman is set to play the Supreme Court justice in “On the Basis of Sex,” which will chronicle Ginsburg’s early days as a lawyer.

In conversation with California Supreme Court Justice Goodwin Liu at this year’s American Constitution Society convention on June 13, Ginsburg revealed that that Portman was adamant a women direct the movie, putting the project on pause.

“Natalie Portman came to talk to me about this, and we had a very good conversation,” Ginsburg said. “And one thing interesting that she insisted on, it held up the project for awhile. She said, ‘I want the director to be a woman. There are not enough women in this industry. There are many talented [women] out there.’ And now they do have a woman director.”

In May, it was reported that Marielle Heller, director of “The Diary of a Teenage Girl,” is currently in talks to direct the movie, though the director of the film has not been formally announced.

Beyond pushing for more women calling the shots, Portman discussed the need for more dynamic female narratives with Elle UK in 2013: “The fallacy in Hollywood is that if you’re making a ‘feminist’ story, the woman kicks ass and wins. That’s not feminist, that’s macho. A movie about a weak, vulnerable woman can be feminist if it shows a real person that we can empathize with.”

(Though we can all agree that Notorious R.B.G. totally kicks ass.)

Portman recently directed her first feature film, “A Tale of Love and Darkness,” which premiered at the Cannes Film Festival in May.

H/T MSNBC

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Entertainment – The Huffington Post
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Saint Laurent Official US Release Trailer (2015) – Yves Saint Laurent Biopic HD

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Yves Saint Laurent’s life from 1967 to 1976, during which time the famed fashion designer was at the peak of his career.

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Mathew Knowles Discusses Plans For A Destiny’s Child Biopic

Last month’s string of Sony emails that were leaked by hackers brought controversy and unveiled private emails that were made all too public.

Among the once-confidential details the security breach highlighted was a proposed Destiny’s Child biopic presented by the group’s manager, Mathew Knowles. Shortly after the revelation made headlines on the web, the music mogul spoke about the project during an interview with the Wall Street Journal and said he would “absolutely” love to see it happen.

“Destiny’s Child, as you know, is the number one selling female group in the history of music. And their story, which starts at 9, 10-years-old in Houston, is really a story that really engages you,” Knowles explained to Wall Street Journal reporter, Lee Hawkins.

“It talks about their challenges, their successes, their failures. It talks about the death of my partner Ann Tillman. And it also talks about, which I think is one of the great aspects of a Destiny’s Child movie or a play, is the empowerment of the songs and the empowerment that Destiny’s Child has given to women.”

Beyonce’s father, who in the past has publicly expressed future plans of a Destiny’s Child reunion tour, went on to add his current relationship with the group and whether or not they officially “broke up.”

“Most people don’t know that I still officially manage Destiny’s Child. And Destiny’s Child people sometimes use the word ‘broke up.’ Destiny’s Child has never broken up officially,” he clarified. “So don’t be surprised if one day there’s a new record and a tour because the group has never officially broke up.”

“There was a strategy years ago that we had that Destiny’s Child would put out an album, and each one of the ladies would put out their own solo project. And we did that because audience equals sales. Real simple. And the more audience you can build individually, which then becomes collectively Destiny’s Child, the bigger the brand becomes.”

Check out more of Mathew Knowles’ Wall Street Journal interview in the clip above.

Entertainment – The Huffington Post
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Mr. Turner Movie CLIP – The Finest View in Margate (2014) – Mike Leigh Biopic HD

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5 Challenges, a Stumble and a Lot of Pride: How We Made a Biopic About Nelson Mandela

A global icon, a legend, an inspiration. Even The Onion joked respectfully, “Nelson Mandela Becomes First Politician To Be Missed.” How do you make a movie about such a man? The first answer, looking back, is: slowly. We didn’t know at the beginning that it would take the rest of Mandela’s life, and that within days of the release of the finished film he would be dead.

While still in prison, Nelson Mandela corresponded with South African film producer Anant Singh. On his release, Anant met Mandela, and the two men became friends. When Mandela published his autobiography, Long Walk To Freedom, he gave the film rights to Anant, saying he did not wish to vet the project in any way. Anant turned to me to write the screenplay. I had written the screenplay for an earlier movie he had produced, a musical about the Soweto uprising called Sarafina. I put it to Anant that a South African screenwriter should take on this nationally sensitive task. He replied that he wanted a global movie, and that a local writer would find it much harder to negotiate the complex rivalries of South African politics. In other words, I would be more able to make the necessary brutal simplifications.

So from the start, the first challenge was how to simplify: what to keep in, what to cut. The second challenge was how to approach the man himself. Too much reverence and the movie becomes pious propaganda. Too much fault finding and the movie becomes mean-spirited, and fails to match the audience’s love and admiration for the man. The third challenge was how to explain the politics, a part of the story that is central, massively complex, and at this distance in time, potentially dull. The fourth challenge was how to explain the nature of Mandela’s achievement. Just what is it this man did that makes him so revered? And the fifth and final challenge was to wrap it all up in a movie that tells a story, that grips and entertains, that is dramatic. After all, the central character spends 27 years in prison — not on the face of it an action movie.

The structural challenge came first. Should we attempt the whole life, or should we find one moment in that life and use it to represent the whole? In recent years, it’s become almost an orthodoxy among moviemakers that the whole-life approach is passé. Lincoln focuses on the passage of one bill. The Iron Lady frames glimpses of her life in scenes of her dementia. In the case of Mandela, it seemed to us that the span of his life itself communicated his achievement: that only when you understood where he came from and what his country was like as he grew to maturity, could you appreciate his greatness. We did experiment with the usual time-fracture techniques, starting with his prison sentence, for example, and flashing back and forward. But it felt that in doing this we were foregrounding the film grammar over the man and his story. So we decided to tell the life straight: no clever games.

This helped us in facing the second challenge, the risk of over-reverence. In his youth, Mandela was a man on the make: a rising lawyer with an eye for pretty girls and smart suits, a man who aimed to be rich. He had no interest in damaging his career by associating with the toothless ANC. His plan was to beat the whites at their own game, by becoming better educated and richer than they were. Here was our chance to present a character most can identify with, not a saint, and not a self-appointed liberator. My early drafts contained scenes of Mandela’s womanizing, of his adulteries, and his aggression to his first wife, Evelyn. We were checking my work with members of Mandela’s circle, specifically with his long-time prison comrade Ahmed Kathrada, known as Kathy. Kathy did raise questions about possible disrespect over these scenes. We made the case for presenting Mandela as a fallible hero, and he accepted it. Along the way, we understood that here, in Mandela’s family life, lay his greatest failure, and his greatest suffering. His chosen path in effect destroyed two families. This became significant as the movie took shape for an essentially dramatic reason: when a story ends in victory for the protagonist, it only satisfies the audience if that victory is seen to be earned. This demands that a price be paid. In Mandela’s case, he paid the price of personal happiness.

The third challenge, the politics, proved to be intractable. There was just no way we could follow each phase of the ANC’s evolution, let alone Mandela’s, as they passed from non-violence to armed struggle, from negotiation to pragmatic compromise. In its place, we substituted a human equivalent, which enabled us to tell the story of the political divide in emotional terms. This was the marriage of Nelson and Winnie. We only realized we could do this quite late in the day, when we were searching for ways to carry the long passive years in prison without letting the movie grind to a halt. Our answer then was to cut away to show what was happening to Winnie. In doing so we discovered that we could encapsulate the two political paths — armed struggle versus negotiated peace — in these two individuals. The drama then becomes both political and personal. As Winnie is driven by her tormentors down the path of extreme violence, Nelson is quietly moving toward a strategy of compromise. This insight led to a further structural development. For many drafts, we had taken the story only as far as Mandela’s release from prison. Now we saw that the story of his marriage needed to reach its sad conclusion, with his public separation from her after his release. This framework made it possible to maintain dramatic drive through the four years from his release to his election as president. So in this ever-evolving way, we stumbled forward to our final shape.

The challenge of explaining Mandela’s core achievement was more intellectual. It involved identifying his key insight, its moment of delivery, and then dramatizing it. Everyone knows Mandela forgave his enemies. But how did forgiveness translate into power? Our answer was to focus on his key perception about fear. Mandela was the victim of powerful oppressors. He and the oppressed races had good reason to fear the white regime. But he understood that they did what they did out of fear of their victims. It’s counterintuitive, but it’s powerfully true. Their fear drove their repression. So if Mandela could take away the fear, there was hope of reconciliation. This analysis gave us the means of essentialising the years of negotiations, and it informed our choice of the speeches Mandela gives in the film. One other quality we added, a personal favorite of mine: we showed him as a leader who was prepared to tell his people — his voters — when they were wrong. I long for such a leader in our Western democracies today.

The last and greatest challenge came, of course, with the actual making of the movie. Ours was an independent production, it needed finance, and for that we needed a bankable director and stars. Over the years, several directors came and went, and we met just about every black movie star. The elements never quite came together. Finally our producer tired of chasing big names, and with Mandela himself now retired and aging, decided to go for a younger, fresher generation of talent. Justin Chadwick came on board to direct. He it was who now faced the giant task of creating a compelling drama. He decided from the first that our movie had a unique opportunity to be shot among and with the very people who had lived through its events. Not since Pontecorvo shot The Battle of Algiers in the same streets and with the same people as its characters, has a movie been so embedded in the reality of its setting. The crowds Justin deployed were the same people who cheered Mandela on his release. The generals who salute him as president are real generals, in their own uniforms, choosing to honor the man who united the nation. Justin adopted a style he calls “360-degree filmmaking,” where he throws his cast into a fully populated world, and shoots with multiple cameras as if covering a live event. His cameras are always alive, always on the move, as if only discovering what’s going to happen as it happens. The result is a film style as contemporary as a Bourne movie, as immediate as news footage, welded to a classic story structure. This is highly innovative filmmaking, expensive, too, but you get more for your dollar in South Africa.

Finally, most strikingly, Justin cast Idris Elba and Naomi Harris for his leads. All the work we put in over the years would have come to nothing without great actors. It doesn’t always happen. I’ve been on movies that were killed by bad casting. This movie is crowned by two astonishing performances. See for yourself.

But the story of the making of the movie doesn’t end here. After it was shot, the first cut inevitably proved too long. Slowly, a leaner version emerged, and began to be tested. The results lived up to all our hopes. Excited, we took the film to the Toronto film Festival, only to be hit by several damp reviews. There seemed to be a disconnect between audiences and critics. The film was too traditional in form, said some critics, too earnest. We took the film back into the cutting room and did more work, tightening, sharpening, clarifying. We then conducted exhaustive tests with recruited audiences. We found ourselves getting unheard-of scores, in the high 90s, with people emerging from screenings deeply moved. We showed it to critics again, and at last the movie started to win official praise.

In the end, this is a moral movie, and I believe we’re not accustomed to that any more. It’s not cynical about human nature. It’s not a glorification of violence as the road to respect and power. It’s not a sentimental proposal that love can put right all wrongs. It tells of a man who dared to believe that his enemies wanted peace, and to use that insight to change his world. And it shows that such achievements come at a very high price. “Their only victory over me,” he says in our film, “is what they have done to my wife.”

That wife, Winnie, and all Mandela’s circle, have embraced the film, for all its simplifications. We take pride and comfort in that. Mandela the man has now left us. The legend lives on.
Arts – The Huffington Post
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