EXCLUSIVE: In a $500,000 against $800,000 deal, Warner Bros is finalizing a deal to acquire Father Daughter Time: A Tale of Armed Robbery and Eskimo Kisses, the Matthew Aldrich spec that Deadline told you yesterday had five bids on the table. The deal is just happening, and I expect the next development to be that Matt Damon is working on this picture as its star and also eyeing it as potentially the one on which he’ll make his feature directing debut. He will also produce through his WB-based company Pearl Street, with partner Ben Affleck, Chris Moore and Drew Vinton also producing.
This has been a spec auction with some big twists and turns, because one of the bids that rivaled the one from Warner Bros was made by Damon and Moore, with money from a private financier. Other bids came in from Paramount (with JJ Abrams attached to produce), Fox (for Peter Chernin), Mandate, Walter Parkes through his discretionary fund, with Relativity Media and others also in the mix.
The script focuses on a man who goes on the lam with his daughter, his accomplice on a three-state crime spree.
CAA, Aldrich’s manager Jewerl Ross and attorney Jamie Feldman were working on the auction all day yesterday and by last night, it looked like Damon and Moore would land the deal, but this morning Warner Bros upped the ante. Since the studio has a first-look deal that Damon made with his and Moore’s former Live Planet partner Affleck, it shouldn’t be a difficult maneuver to plug Damon right into the center of the film.
This is a strong spec sale at a time when not a lot of money is being paid in the marketplace for scripts that don’t come with attachments. Adrich said that he wrote his script on and off, putting it down when he was hired on assignment and picking it back up. “The spec road wasn’t really the plan, I finished the draft, gave it to my manager and new agents, who loved it, and the idea was to attach a director,” he said. “It took off from there.” While specs are considered the riskiest form of employment right now, Aldrich said it has worked well for him.
“The one film I’ve had produced was a spec, so I guess I’m batting 2 for 2,” he said. “Specs are turning out to be a pretty good business model. But the idea wasn’t to make a deal, it was to make a movie. The script is not high concept, it’s a smallish, very personal, dark but playful road movie about a father and daughter.”
The reason they were heading for the independent offer, according to Ross, was becasue they wanted to protect the vision of the film and feared that would be difficult at a studio. But they sparked to the continued involvement of Damon, who has pledged just that.
“When one of the biggest movie stars in the world, who also happens to be an Academy Award-winning screenwriter, gets on the phone with your client and offers to protect the writer’s vision and opens his hand to be a creative partner, it’s hard to say no,” Ross said. “The money becomes secondary. This script is not the obvious studio movie. There are no explosions. It will require delicate handling. Avoiding years of development hell was our goal.”
Actor Matt Damon has revealed he is looking forward to lock lips with Michael Douglas for their new movie.
Damon will play Douglas’ lover in a movie about gay piano legend Liberace.
“It’s scripted that there’s more than one. I never thought I would get to kiss Michael Douglas,” contactmusic quoted Damon as saying.
Douglas, who revealed in January that he is in remission for stage four throat cancer, is equally enthusiastic about the project.
“I’m just going to get really comfortable so it’s not a caricature. Matt Damon’s going to be my younger lover. God bless Matt. I saw Matt and I was teasing him. I was saying, ‘Bring a lot of ChapStick, babe,” said Douglas.
The film will be helmed by Steven Soderbergh.
Matt Damon comes into close contact with a real-life grizzly bear on the set of his upcoming film “We Bought A Zoo” March 22, 2011. The large furry bear is seen walking back and forth on a closed off street with Damon and his co-stars inside a Ford vehicle. The bear’s trainer is seen making a hand signal to get the bear’s attention towards Damon’s car window – and at one point mounts himself on Matt’s car, blocking Damon inside the car. (Juan Sharma/PacificCoastNews)
The Matt Damon-starring movie “Hereafter” was pulled from theaters in Japan earlier this week, and Warner Bros. is using the film’s Tuesday release on DVD and Blu-ray as a way to raise money for relief efforts.
According to the L.A. Times, Warner Bros. Home Entertainment is donating an unspecified percentage of DVD and Blu-ray sales to the Japanese Red Cross Society following the devastating earthquake and tsunami that hit the nation last Friday. Those familiar with the matter tell the Times that the donation will be in the ballpark of $1 million.
The Clint Eastwood-directed film focuses on grief and the afterlife, but it does contain a scene depicting a tsunami wreaking havoc on a coastal town. It’s been playing in Japan since February. A Warner Bros. rep explained to CNN, “In deference to the tragic unfolding events in Japan, we have pulled ‘Hereafter’ from the theaters.”
The Warner Bros. rep added that the opening of Anthony Hopkins’ horror thriller “The Rite,” which was originally scheduled to bow this weekend in Japan, has been postponed.
Quick, what’s the oddest thing about Matt Damon’s career? The obvious answer is that he has played a lot of oddballs. The drug-addled Gulf War veteran of Courage Under Fire (a role for which he lost 40 pounds — and he wasn’t exactly chunky beforehand). The troubled megamind of Good Will Hunting. The moody parasite-sociopath of The Talented Mr. Ripley. The amnesiac ex-government fighting-and-killing machine of the Bourne films. The lost-inside-himself CIA cipher of The Good Shepherd. The whistleblower-without-a-twinge-of-idealism in The Informant! The melancholy psychic of Hereafter. No question about it: For an actor who has long resembled a clean, upstanding, gleaming-white-toothed Boy Scout, and who now looks like a slightly older Boy Scout, Matt Damon has spent a long time going out of his way to cast himself against type.
But that’s still not the oddest thing about his career. That would be the fact that, in nearly 15 years as a major movie star (I’m dating his leap to leading man status from the explosive success of Good Will Hunting), Matt Damon has never starred in a romantic comedy. Not once. He has never tried to lighten his image, or rebound after a box-office failure, or simply play the game by agreeing to do some fluffy-sexy chick flick in which he plays a carefree executive bachelor who flirts with, gets taken down a peg by, and falls for Julia/Sandra/Jennifer/Kate/ Renée/Drew/etc.
The desire to steer clear of those kinds of movies has been an almost ideological decision on Damon’s part, and for anyone who follows him, it’s a choice with a ready explanation: Chick flicks are Hollywood at its most cheesy, formulaic, corporate, and even embarrassing — for the most part, they’re happy-face gobs of product masquerading as movies — and Matt Damon is not a cheesy guy, and not a formulaic or corporate actor either. He doesn’t make movies he doesn’t believe in. That’s why he’s virtually the only actor of his generation who was able to become an action star and hold fast to his integrity while doing it. The Bourne films aren’t quite works of art, but they’re super-smart about exciting audiences. They’re thrill rides with a vision.
Writer/director George Nolfi leads MTV News through the film’s trickier scenes.
So far, 2011 has been woefully lacking in the damn-that’s-cool sci-fi department. “I Am Number 4,” alas, just didn’t cut it.
But this weekend brings us a sci-fi respite, before summer movie season begins, in the form of “The Adjustment Bureau.” Based on a Philip K. Dick story, the flick’s conceit is that there’s a vast, supernatural force — the titular adjusters — that controls and guides the fate of humanity. For star Matt Damon, that means his quest to achieve political superstardom and bed Emily Blunt is propelled, and sometimes compromised, not just by free will, but by the adjusters dictating his fate.
The adjusters, played by the likes of John Slattery and Anthony Mackie, have abilities that range from “freezing” people to make behavioral changes to turning normal doors into geography-leaping portals. For all this high-concept trickery, though, the entire movie maintains a realistic feel — partly because of the filmmakers’ aesthetic and partly because they weren’t working on an “Inception”-like budget.
Writer/director George Nolfi (making his directorial debut after penning scripts like “The Bourne Ultimatum”) gave MTV News a call to take us behind the scenes of the film’s coolest elements.
Why Are the Adjusters Dressed Like “Mad Men” Extras?
Perhaps it’s just because Slattery, a star of “Mad Men,” rocks a slick-looking suit throughout, but many people have been wondering: Why do the adjusters looked like they just stepped out of the hit AMC show?
“I wanted the bureau to have a throwback quality to suggest they’ve been here forever,” Nolfi explained. “They have to blend into our world and yet the audience has to be able to pick them out of a crowd. They’re wearing suits that you’d just think, ‘They’re very well-dressed, that’s a guy who reads GQ.’ The suits and hats are all from different eras — ’30s, ’40s, ’50s, ’60s.”
But not all adjusters wear suits — just the ones, for instance, who follow a suit-wearing politician like Damon. Each adjuster dons gear that allows them to blend in with the person they’re following. “I cut out some scenes where other people from the bureau are much more informally dressed,” the director said. “They’re in black jeans and leather vests and baseball caps. They’d be following someone like me around, when someone in a suit and a fedora would be very obvious.”
Though it’s a Western about an ugly lizard, Rango was quite a draw over the weekend, and The Adjustment Bureau was no slouch either. While overall weekend business was off 32 percent from last year’s Alice in Wonderland madness, it was up from the comparable weekends in 2009 and 2008. (…)
The Adjustment Bureau debuted in second with $21.2 million on nearly 3,200 screens at 2,840 locations. Its start was close to Unknown’s last month, and it was a big improvement over Matt Damon’s last vehicle Hereafter ($12 million). In fact, Bureau posted the highest-grossing opening yet for a top-billed Damon movie outside of the Bourne series. In its marketing, the movie was concisely pitched as an exciting romantic thriller with a fantastical angle. According to distributor Universal Pictures, the audience was 73 percent aged 30 years and older and 53 percent female.
The Adjustment Bureau is out in theathers today! If you’re not on US, you can check here for more release dates. I’ve posted a series of reviews in the previous posts. Enjoy!
MPAA Rating: Rated PG-13
Starring: Emily Blunt, Matt Damon, Anthony Mackie, Terence Stamp, John Slattery, Daniel Dae Kim, Shohreh Aghdashloo, Michael Kelly, Liam Ferguson, Anthony Ruivivar
Director: George Nolfi
Plot: Do we control our destiny, or do unseen forces manipulate us? Matt Damon stars in the thriller The Adjustment Bureau as a man who glimpses the future Fate has planned for him and realizes he wants something else. To get it, he must pursue the only woman he’s ever loved across, under and through the streets of modern-day New York. On the brink of winning a seat in the U.S. Senate, ambitious politician David Norris (Damon) meets beautiful contemporary ballet dancer Elise Sellas (Emily Blunt)-a woman like none he’s ever known. But just as he realizes he’s falling for her, mysterious men conspire to keep the two apart. David learns he is up against the agents of Fate itself-the men of The Adjustment Bureau-who will do everything in their considerable power to prevent David and Elise from being together. In the face of overwhelming odds, he must either let her go and accept a predetermined path…