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Johnny Depp Slags Jared Leto, Jamie Foxx, Zoe Deschanel, Russell Crowe, Bruce Willis For Trying to Be Working Musicians

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Johnny Depp– on the verge of having another gigantic disaster with “Mortdecai”– is not making any friends. In an interview with the Sydney Morning Herald, the rapidly unraveling actor slagged all his actor pals who’ve tried to have second careers as musicians. Think Russell Crowe, Bruce Willis, Zoe Deschanel, Jared Leto, Scarlett Johansson, Minnie Driver, Jennifer Lopez and so on. He presumably included Gwyneth Paltrow, is co-star, who has performed on “Glee” and other shows.

“That whole idea for me is a sickening thing, it’s always just made me sick,” Depp told reporters at press conference in Berlin.

“I’ve been very lucky to play on friends’ records and it’s still going. Music is still part of my life.

“But you won’t be hearing The Johnny Depp Band. That won’t ever exist.”

This is the same Johnny Depp who banned press from the after party for “The Rum Diary” because he wanted to take the stage with Keith Richards and rock out just for people who liked him.

Depp told reporters: “The kind of luxury now is, anybody with a certain amount of of success, if you have a kind of musical being, you can go out and start a band and capitalise on your work in other areas.”

“But I hate the idea, ‘come see me play the guitar because you’ve seen me in 12 movies’.”

Meantime, I’ve heard a lot from people around the movie “Into the Woods” asking why Depp missed most of the promotion– even though Meryl Streep and the entire cast participated in dozens of Q&A’s and screenings. “At one point, Meryl asked the studio to use Depp’s allotted private plane for the other actors since he wasn’t even participating,” says a source.

If “Mortdecai” bombs– all indications are there including no advance reviews–Depp may have to become a musician. Aside from “Pirates of the Caribbean” movies, his acting career has become a weird afterthought. See: “The Lone Ranger,” “The Tourist,” “Dark Shadows.”

Still Julianne: Moore, Honored by Museum of Moving Image for Being a Mensch, Always Gets it Right

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Julianne Moore is being honored Tuesday night by the Museum of the Moving Image. For what exactly? For being a mensch. Forget “Still Alice” or “Game Change” or “Boogie Nights,” “Short Cuts,” “Far From Heaven,” “The Hours,” “The Hunger Games” (yes, she’s in that too), or a dozen other movie roles. Julie (her real name) got her start on “As the World Turns” in the mid 1980s. She won the Daytime Emmy Award for playing twin cousins (shades of Patty Duke!).

The mensch part? In 2010, when “ATWT” ended its 54 year run, Julianne returned for a special episode that reunited her with her former colleagues. No actor who’s gone on to such a film career has ever been that gracious and respectful. The episode was a winner. And now Julianne Moore may win the Oscar. She will be the most successful soap actor, in those terms, to reach that achievement.–RF

Here’s Paula Schwartz on “Still Alice”:

 It’s definitely morbid and it’s not like a walk in the park,” Kristen Stewart
told journalists at a press conference recently at the Crosby Street Hotel for
“Still Alice,” starring Julianne Moore, as a Columbia linguistics professor with
early-onset Alzheimer’s disease. Moore, who won the Golden Globe, is the Oscar
frontrunner for the film, which opened Friday. “The Twilight” actress plays the
wild-child unlikely daughter who helps take care of her character as her illness
progresses. (Kate Bosworth plays her other daughter and a restrained Alec
Baldwin portrays her husband.)

Moore, Stewart, Bosworth, co-writer-director Wash Westmoreland; along with
Lisa Genova, who wrote the book “About Alice” on which the film is based, all
turned up to promote the film last week and field questions from the press.

“It’s not always about having fun and making people laugh and going to movies
to have a great time. They can say something and I think this movie does,”
Stewart said. “I knew for a fact, as soon as I knew that Julianne was playing
this part, I knew that she was going to do something important. I knew this
movie was being made so she could do that. It would say something and it was our
job to just pull her up.”

Early in the press conference, when Moore was asked about some of her iconic
film roles, she noted that when people remember things in her movies and quote
lines to her, her reaction is, “What’s that? Especially when you’re referencing
movies from 10 years ago. I barely remember 10 years ago.”

Before she took on the role Julianne Moore told journalists she had no
personal experience and knew no one who had Alzheimer’s, so she contacted health
care professionals, went to Mount Sinai, spoke to myriad psychiatrists,
caretakers and especially patients to learn everything she could. “I immersed
myself in it. People were happy and excited that we wanted to know and that we wanted to get it right,” Moore said. “Alzheimer’s (patients) don’t feel seen. I think a lot of the times people look the other way and it’s hard to live with that, you know? They feel that there’s some kind of a shame attached to
cognitive decline, whereas, it’s easier, most of them wish they had cancer. If
it’s cognitive there’s a great deal of shame involved so it was great to have
the experience of these people.”

Bosworth, who plays Moore’s other daughter in the film, said the story was
personal to her as her grandmother has the disease. “I take care of my
grandmother with my parents,” Bosworth said, pointing out that she liked the
comedic elements of the film, that it mirrors life where there are moments that
are “tragic” but also “absolutely hilarious.” She added, “I felt this was an
opportunity to shine a light on this disease, and being able to work with
Julianne, I really just wanted to sit and watch her do what she does and it was
really spectacular.”

Westmoreland added that despite the heavy subject matter he didn’t want the
movie to be depressing. He hoped the movie conveyed “the possible connection
people can make even in the most difficult times, ” and that he hoped the movie
“had something very colorful to say about what it means to be alive.”

Unlike other movies about the same subject, Westmoreland said the film’s
purpose was to focus inside Alice’s head and how she feels and deals with the
disease and the challenge was “how to create that terrible subjectivity so
you’re with her and you sort of grieve with her and go through all the tension
and disappointment and triumphs with her.”

The film’s backstory is as emotional and devastating as anything in the film.
In December 2011, Westmoreland and his husband Richard Glatzer, who is also the
co-writer-director, received a phone call from the producers asking them to look
at the novel for possible film adaptation. Earlier in the year Glatzer was
diagnosed with ALS. The irony is that ALS debilitates the body but leaves the
mind intact and Alzheimer’s does the opposite but both are incurable and eat
away at the sense of self and identity
.

After the press conference the director told me it is his and Glatzer’s 20th
anniversary as a couple this year and that they’ve worked together since they
made the film “Quinceañera” in 2006.

I asked Westmoreland how he was doing coping with his husband’s illness.
“Thanks for asking. I’m doing fine,” he told me. “I have really good friends.
And they sort of formed this little support network and the movie itself is
tremendous for us and so I’d say I’m doing all right.”

I also congratulated him on Julianne Moore’s Golden Globe win and his
achievement in bringing a three dimensional woman to life on screen. “It’s so
exciting,” he said about Moore’s win and the possibility of her winning the
Oscar. As for Hollywood’s inability or refusal to create rich roles for women,
Westmoreland noted, “I think there is ageism and sexism and then the stories
about real people that have relevance and to me that’s what’s going to win at
the end, right?

I said I wasn’t so sure.

“Obviously it needs to happen more often. I believe society is going to
progress and more and there’s going to be more and more movies about more and
more different sections of our American population, not just about straight,
young white men.”

Madonna’s Rebel Heart– 19 Tracks But No “(Addicted to) The One That Got Away”

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Madonna has released the track listing for “Rebel Heart.” The album is a long one– 19 tracks, most of which were leaked, and then put on line by her. Missing is “(Addicted to ) The One That Got Away,” a song I thought would be a hit single. Many of these titles are already known, but with videos, and proper mixes, and the whole Madonna package, even the known songs will sound good.  How will Interscope and Madonna price a 19 track album? That should be interesting because “MDNA” was deep discounted and in some cases given away.

01. Living For Love
02. Devil Pray
03. Ghosttown
04. Unapologetic Bitch
05. Illuminati
06. Bitch I’m Madonna (feat. Nicki Minaj)
07. Hold Tight
08. Joan of Arc
09. Iconic (feat. Chance The Rapper & Mike Tyson)
10. HeartBreakCity
11. Body Shop
12. Holy Water
13. Inside Out
14. Wash All Over Me
15. Best Night
16. Veni Vedi Vici (feat. Nas)
17. S.E.X.
18. Messiah
19. Rebel Heart

“Selma” Can Still Win Best Picture Despite the Snub for Best Actor and Director

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So: we watched Ava Duvernay’s “Selma” again today, this time with two young black women who were at my parents’ home. And this is what I can tell you: they wept. And the movie is as good or better than the first time I saw it right after Thanksgiving. David Oyelowo’s performance is enormous, and all the other actors, especially Carmen Ejogo as Coretta Scott King, are exceptional.

The villain of the piece, Alabama governor George Wallace, hits just the right notes. And President Lyndon Johnson? If you pay close enough attention, he comes out a hero. Tom Wilkinson gives him just enough gruff to make him a dramatic foil for Oyelowo’s Martin Luther King.

“Selma,” let’s not forget, IS nominated for Best Picture. It can still win. And probably should.

“Selma,” I’d say, was the victim of a smear campaign. I’m not sure if it was on purpose. But it began with a piece that Politico picked up authored by the head of the Johnson library, one Mark Updegrove. He published a book in 2012 called “Indomitable Will” about the Johnson presidency, and was obviously looking for some publicity. He got it. He’s all over the place, no doubt very pleased with himself.

The Huffington Post jumped on the piece after it was published on December 22nd, and the rest of the press followed, as usual, like lemmings. “Selma” suddenly was to be dismissed for futzing with the facts as if no other movie based on history had ever done that.

And really, as many people said to me at that point, black people had had their big year last year with “12 Years a Slave” and “Fruitvale Station” and “Mandela.” Wasn’t that enough?

Then came #OscarsoWhite and the claims that the Academy of Motion Picture Arts and Sciences was racist. (Ridiculous, and it’s run by a black woman.) Al Sharpton got involved, because why not? On Sunday Maureen Dowd threw her lot in. Today, it’s David Carr’s turn. Each is in the New York Times.

This much I know: both Richard Valeriani and Gay Talese, two legendary journalists who were in Selma for the march and saw the movie, have praised it a lot. Robert Caro, who’s written three volumes of LBJ biographies, told me hadn’t seen the movie, didn’t have an opinion, and slammed the phone down before I could ask him anything else. That wasn’t very nice.

There’s a big discrepancy about who came up with the Selma idea– Johnson or MLK. There’s also the debate over whether Johnson wanted the Voting Rights Act, or didn’t, and so on. LBJ was no angel. His biographers love him, and are fighting for his legacy. But you know, he was by all accounts a mean spirited politician who was an unhappy vice president. For 20 years he voted against all civil rights bills in Congress. The country literally blew up over Vietnam during his five years as president, leading to Nixon and a lot of terrible things.

That Johnson did become a fervent civil rights backer after 1957 is true. And the Civil Rights Act is his greatest legacy. So he was not a black and white fellow, but more gray, and very human.

In that case, I defer to Bill Moyers, who worked for Johnson and was there in the White House in 1965. On his blog he has written of “Selma”: “it’s a powerful but flawed film.”

Moyers says, in the plus column: “There are some beautiful and poignant moments in the film that take us closer to the truth than anything I’ve seen in other movies to date: the cruelty visited upon black people every day by whites and armed authorities; the humiliation they faced simply trying to register to vote (“Name all the county judges in Alabama!”); the courage and fear of those black people who put themselves on the line for freedom’s sake; the ambivalence in Martin Luther King Jr. as he faced the inescapability of leadership and constant threat of death. I cannot imagine the dread one had to subdue to step on that bridge that day.”

As for the Johnson rendering: “To my knowledge he never suggested Selma as the venue for a march but he’s on record as urging King to do something to arouse the sleeping white conscience, and when violence met the marchers on that bridge, he knew the moment had come: He told me to alert the speechwriters to get ready and within days he made his own famous “We Shall Overcome” address that transformed the political environment.”

Moyers continues: “Here the film is very disappointing…This is the moment when the film blows the possibility for true drama — of history happening right before our eyes.”

No historical film is perfect. We could zip through “A Beautiful Mind,” “Schindler’s List,” “Saving Private Ryan,” even the current “The Theory of Everything”– and find so much to quibble about. But is “Selma” a great film? Yes. Lyndon Johnson can take it, and whoever makes his biopic can fix what they didn’t like here. This isn’t about LBJ. It’s about Martin Luther King. Let’s not lose sight of that. Ava Duvernay has made a movie that will last for a long, long time.  “Selma” is the most important movie of 2014-15. Let’s not get distracted from that.

PS The song “Glory” by Common and John Legend was nominated. And it’s spellbinding.

 

Clint Eastwood’s American Sniper Breaks Records, Biggest Box Office of All Oscar Nominees

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Finally, an Oscar nominee that’s a hit. A bona fide hit. Clint Eastwood‘s “American Sniper” took in $90.2 mil over the last three days. It’s the second biggest opening weekend of an R rated movie ever. EVER. It’s the highest grossing of all the Oscar nominated movies this year. And I think it changes the Best Actor race, giving Bradley Cooper a big push against Michael Keaton and Eddie Redmayne. Cooper has a 3pm matinee today for “The Elephant Man” on Broadway. I don’t know how he’s going to keep from grinning through the whole show. Bravo!

SNL: Watch Kate McKinnon’s Brilliant Parody (With Cecily Strong) of Justin Bieber

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Watch Kate McKinnon and Cecily Strong’s brilliant parody of the Justin Bieber-Calvin Klein commercials on “Saturday Night Live.” This is one of many excellent skits from last night’s show.

Bieber may have a touring career left in him, but musically he’s pretty much kaput. Culturally, as well. He’s the laughingstock of the moment. And it’s not even that. He has no musical cred, no one single or piece of music that’s sold well or had any critical appreciation.

His last collection, sent straight to iTunes, was a disaster. His name does not appear with his contemporaries on any list of this or last year’s best selling hits. Radio rejects him. And now this, this is devastating. The tattoos are truly hilarious and pathetic.

Mariah Carey About to Make “Epic” Move Back to L.A. Reid and Sony (EXCLUSIVE)

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UPDATE I’m told that Carey dined last week in L.A. with Reid and Epic’s new Marketing/PR whiz Laura Swanson, who worked for Reid and Carey at DefJam previously. “The band is getting back together,” joked an insider. It’s a done deal.

EXCLUSIVE  Mariah Carey is coming back to Sony and Epic Records. Carey, I am told, is basically done at Universal Music Group and DefJam Records. Her last release, last June’s “Me.I. Am Mariah,” was a spectacular sales flop, not crossing the 250k mark. (It was actually lower.) The elusive chanteuse has never really equaled her DefJam hits “The Emancipation of Mimi” and “E=MC2.” And all of her loyalists from the DefJam days are gone, starting with former label chief L.A. Reid.

Reid left DefJam for Epic, where he had a slow and bumpy start after an unfortunate detour into “American Idol.” But now he’s on roll with mega hit Meghan Trainor, not to mention Sara Barielles, Bonnie McKee, Fifth Harmony, A Great Big World, The Fray, and Kongos. Reid is the only one in the biz who could relaunch Carey as an adult star– no more hip hop– and may be the only one wants to.

More importantly, Sony has incentive. Most of Mariah’s classic catalog of albums is still there from her Tommy Mottola days. Reid’s first move might be to do a Mariah-and-guests duets album of her hits like “Dreamlover” and “Vision of Love” a la Barbra Streisand.

One source tells me: “It’s in the works and should be done shortly.”

Another sign: a blind item on hitsdailydouble claiming a major legacy pop star just dissed his/her record execs backstage at her show. Carey held court at the Beacon Theater in December for about a week. Just sayin’…

And don’t forget: Carey is about to take over from fellow Epic star Celine Dion at Caesar’s in Las Vegas. The Butterfly singer is ready for a resurgence. The only thing she still needs: a  manager. Someone she actually listens to. She’s been through several in the last couple of years.

 

Scientology vs. HBO May Also Be the End of Tom Cruise at Warner Bros.

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The war between the cult of Scientology and HBO could have a domino effect in other places. Yesterday, Scientology took out a full page ad in the New York Times decrying HBO for its upcoming documentary “Going Clear.” Based on Lawrence Wright’s much praised book of the same name, “Going Clear” is directed by Alex Gibney. The book rips open the cult’s secrets along with many stories about Scientology’s Hollywood members including Tom Cruise and John Travolta.

When “Going Clear” is finally seen, we’ll see just how much of it takes in Hollywood. That may put HBO’s parent company, Time Warner, in some trouble. HBO’s cousins are Warner Bros, movie studio and CNN. Also still in the family, although at arms’ reach, are the Time Inc magazines including People and Entertainment Weekly.

Will Cruise make another movie at Warner’s, or ever do publicity again with People or EW? What about Travolta and some of the others who are identified with Scientology like Kirstie Alley, Juliette Lewis, Jenna Elfman, and so on? Cruise’s biggest film other than a franchise in 10 years was “Edge of Tomorrow,” at Warner’s last year. His next three announced projects are at Paramount, but you never know when a script will come along that Cruise wants– and it’s at HBO.

And what of Travolta? He’s moving into TV with “American Crime Story” on F/X. An HBO series for a fading film star is not out of the question. But it may be for HBO if Travolta’s Scientology travails are revealed.

PS I don’t see Gibney pulling punches. His Lance Armstrong and Wikileaks docs were exemplary in how they went for the good stuff. If I were the people in “Going Clear,” I’d be nervous.

Box Office: Universal, Michael Mann Suffer a $70 Mil Disaster with “Blackhat”

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Michael Mann has directed some of the great films ever, including “The Last of the Mohicans,” “Heat,” “Ali,” The Insider.” Classics But he also made the god awful film of his memorable TV show “Miami Vice.” Ouch.

You know that if a Michael Mann movie is opening in January with no Oscar run it must be very very bad. And so “Blackhat,” which they say cost $70 million but probably more, opened and died last night. In wide release it took in just $1.4 million, even with star Chris Hemsworth. Even with hacking, the movie’s subject, in the news.

Mann hasn’t had a real hit since “Collateral” in 2004. Like Warren Beatty, he hasn’t made many films, so the flops don’t outweigh the successes. But this is a write for Universal, which at least has had “Unbroken” to brag about.

Rent “Heat” tonight and see what a good movie really can be.

 

Clint Eastwood, Bradley Cooper Get the Last Laugh with Record Breaking “American Sniper”

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Just when you thought you knew everything about the Oscar race, here’s some news: Clint Eastwood’s excellent film “American Sniper” nominated for Best Picture, set a box office record on Friday. With $30.5 million in one night, “Sniper” is the largest single January opening ever. The film could clear $80-90 million by the end of Friday.

Surprise! Bradley Cooper has his third Oscar nod in a row as Chris Kyle. Cooper is currently getting raves on Broadway in “The Elephant Man.” His final performance is the night before the Oscars. Does he pose a threat to Best Actor leader Michael Keaton? I’d say yes. And now that David Oyelowo has been snubbed in “Selma” as Martin Luther King Jr., I’d say that Cooper is my new choice for Best Actor.

Eastwood and Cooper get the last laugh. Eastwood, 84, was being dismissed after his disappointing take on “Jersey Boys.” Cooper was considered an also ran in the Oscar race. But I told you last month that I could not get that performance out of my head. It really resonated. There was a fear that the Oscar voters and blue staters aka liberals would not get “Sniper.” But Cooper, Eastwood, and co-star Sienna Miller make this movie an all too human story.

The problem with this year’s Oscars is that there weren’t 6 or 7 slots for Best Actor. Yes, Oyelowo was cheated. But the five who made it are all deserving. And now I think Bradley Cooper may surprise everyone yet.