After all the hoopla of amazon selling Lady Gaga’s new album for 99 cents this week, you’d think she’d be number one on the downloads charts. Well, she is, with her new album. But so far, on amazon and ITunes, no single track from the new “Born this Way” CD has emerged as a hit. While the album is number 1 on both system’s charts, Adele still holds down the number 1 singles position with “Rolling in the Deep.” Lady Gaga does have individual tracks charting on ITunes, but the highest one is “You and I,” at number 5. “Judas” and “The Edge of Glory,” which preceded the album’s release as “singles” (such as they are these days), are languishing at numbers 17 and 35. There’s no doubt that the “Born this Way” album will be a huge number 1 when sales are counted on Tuesday after Memorial Day. But it’s a little weird that nothing else is happening. Despite the hype, it doesn’t look like Lady Gaga’s going to pull off the Beatles’ old record of having the whole top 5.
“Dark Knight Rises” Villain Revealed?; Questlove Gets to Roots of Costello
The great news from the London set of “The Dark Knight Rises” is that Matthew Modine is about to start filming key scenes in the new Batman movie. I’m told that Modine –whose character’s name has been reported as Nixon– is playing an appropriate character for his name. “He’s a politician and a key villain,” says a source. This does sound like director Chris Nolan is creating an homage to another Nixon we knew long ago. At least Modine is getting to shoot his scenes in a safe studio in London. When I ran into producer Charles Roven in Cannes a couple of weeks ago he was regaling pals about the “Dark Knight Rises” shoot in Jodhpur, India. The film is using the ancient Mehrangarh Fort as a key setting for what will likely be one of the biggest movies of all time…
…?uestlove, the leader of the Roots, found himself on stage last night at the Beacon Theater during Elvis Costello‘s final show. The talented drummer from Jimmy Fallon’s house band had just gotten a ticket and was in the audience. But he was soon recruited to spin Costello’s song wheel, and then to play drums on one song while Imposters veteran Pete Thomas took a break. Costello’s last show was a smash, with many new songs added to the mix including some not heard in a long time from “This Year’s Girl” and “Imperial Bedroom.” Diana Krall stayed backstage this time. But legendary concert promoter Ron Delsener danced around in the wings.
After the show, Elvis, Steve Nieve, Pete Thomas and Davey Faragher blew off steam with friends and family. Costello told me that not just his half brother Ronan, but all four of his famous jazz musician dad’s sons from his second marriage are talented musicians. “It was the first time we ever sang anything together,” Elvis said of Ronan’s guest spot Monday night. Also featured last night, brilliantly: Costello collaborator Jim Lauderdale. PS Costello did say quip on stage last night that Columbia Records–his original label– was out of business. Well, maybe to him. Several of the Columbia execs who worked on his first, most famous albums were on hand–they’re all ex-Sony/Columbia–and got a laugh out of that.
Also: the amazing Steve Nieve, who’s been Costello’s arranger, band leader, and keyboardist extraodinaire for 35 years, has just finished his own album. There are plenty of great guest vocalists like Glenn Tilbrook, Ron Sexsmith, Joe Sumner of Fiction Plane, Laurie Anderson, Harper Simon, Costello, and Vanessa Paradis aka Mrs. Johnny Depp. “2 Gether” is an album some major label should jump on.
Lars von Trier On Nazi Comments: “Unintelligent, Ambiguous, Needlessly Hurtful”
“Melancholia” director Lars von Trier is still dealing with the fallout from his crazy comments in Cannes about being a Nazi. The whole thing has become incredibly strange, too. But it shows how a slip of the tongue in the era of instant global communication can change your life. When von Trier said, “I am a Nazi” and that he sympathized with Hitler, the word went out on Twitter in one second. And in many languages. He was denounced by the film festival, and made “persona non grata.” It’s too bad. “Melancholia” is an excellent film, and Kirsten Dunst is terrific in it. Here’s von Trier’s latest missive, delivered this morning:
‘In connection with the Iranian Vice Minister of Culture Javad Shamaqdari’s letter to the Cannes Film Festival regarding the “Persona non grata” stamping of my personality, I feel called to make the following comment:
In my opinion, freedom of speech, in all its shapes, is part of the basic human rights. However, my comments during the festival’s press conference were unintelligent, ambiguous and needlessly hurtful.
My intended point was that the potential for extreme cruelty, or the opposite, lies within every human being, whatever nationality, ethnicity, rank or religion. If we only explain historical disasters with the cruelty of individuals we destroy the possibility of understanding the human mechanisms, which in turn are necessary in order to avoid any future crimes against humanity.”
Maybe it’s a language thing, but I don’t get the “ambiguous” part. von Trier’s statement was quite clear. What a mess. An actual apology would end this. Instead, he’s focused on “freedom of speech.” This is never going to end.
By the way. I read yesterday that von Trier’s producer said he was “provoked” to make the comments. This is patently ludicrous. von Trier was very loose and funny in the press conference, and had only softball questions. He was so full of quips and odd comments that I actually asked him whether he ever considered directing a comedy. It was shortly after that that things took a dark turn.
Elvis Costello Spins a Wheel of Fortune, Diana Krall Dances
Elvis Costello got some people to dance on stage last night at the Beacon Theater who ordinarily don’t shake their moneymakers in public. But his wife, jazz great Diana Krall, and producer extraordinaire T. Bone Burnett got in the mood like crazy, doing the frug and other dances with a Sixties style gogo dancer in a cage–provided by Steve van Zandt‘s manager wife, Maureen. The Beacon was pretty much of a party as Elvis, sporting a top hat and cane, recreated his famous 1986 spinning wheel on stage–sort of like Regis and Kelly’s vacation wheel but slotted with names of Costello’s songs and other hits. “Contestants” get to spin the wheel and Costello’s band has to play whatever song comes up. Of course, Costello himself has some control of the wheel and inserts songs he’s got slated to play.
But the whole thing makes for an incredibly entertaining evening. For the second of three nights at the Beacon, Costello pulled out all the stops, mixing hits like “Alison” and “Watching the Detectives” with cool rarities for fans like “Clowntime is Over,” “Lipstick Vogue”–with the Arctic Monkeys’ Alex Turner, and the Nick Lowe/Dave Edmunds hit “Heart of the City.” Costello performed three songs from his 1985 album, “Blood and Chocolate”–“I Hope You’re Happy Now,” “I Want You,” “Uncomplicated,” plus “So Like Candy,” a rousing version of the Rolling Stone’s “Out of Time.” He was also joined on stage for a couple of numbers with his (much younger) half brother, Ronan MacManus, an accomplished Irish musician who supplied quite lovely vocals on “American Without Tears.”
Tonight, Elvis is back for a third night at the Beacon. And it’s a big music night in NYC. Bernard Fowler, the great background singer for the Rolling Stones, is doing a one off show at The Highline Ballroom down on West 16th St. His band includes Ronnie Drayton on guitar (Nona Hendryx), Keith LeBlanc on drums (Grandmaster Flash, Melle Mel), Andy Hess on bass (Black Crowes, Greg Allman, Bo Diddley.) The last time Bernard played a New York show, Keith Richards was front and center. You never know who’s going to show up at a Fowler gig. Tickets are $15.
Gwyneth: No Record Deal, We Told You Two Months Ago
Hmm….I told you back on March 9th there was no record deal at Atlantic Records for Gwyneth Paltrow. It did seem like Paltrow might make a record, based on her appearances on “Glee,” in the movie “Country Strong,” on the Grammys and with Cee Lo Green. But the rumors were just that. And why it’s all back today is a mystery, but someone should do a little checking. Everything old is new again!
http://www.showbiz411.com/2011/03/09/gwyneth-paltrow-no-record-deal-press-reports-were-premature
Lady Gaga: Amazon Selling New Album for 99 Cents vs. ITunes $15.99
UPDATE: Amazon.com is selling “Born this Way” album downloads for 99 cents today. Meanwhile, the price at ITunes is $15.99. (Thanks to hitsdailydouble.com for the tip off.)
There’s just no question that Lady Gaga‘s “Born this Way” album sounds like the missing Madonna CD from 1988. Is it a bad thing? No, not at all. From the well known Madonna-ish title track to the annoying “Judas” and beyond, Lady Gaga (aka Stephanie Germanotta) has done what Madonna used to do so well: synthesize existing ideas into her own art form. Let’s not be stupid here. “Born this Way” is going to sell like crazy this week, maybe break a few records, and have an astounding debut on the charts. It may well do more than a one million in sales.
Will it revive the record industry? No. If anyone gets credit for that it should be Adele. Her “21” album has been number one for weeks. It’s also completely original, and Adele is an echo –not a copy–of Janis Joplin and Grace Slick. I’ve been listening to “21” for the last couple of weeks on my Zen MP3 player, and it’s remarkable. Adele is the star of the year. This doesn’t take anything away from Lady Gaga. (PS Adele’s hit “Rolling in the Deep” was played at least twice every night this year on the red carpet at Cannes. No one could get enough of it.)
But “Born this Way” is relentless, derivative, and monotonous. The songs sound alike, with few exceptions. After “Just Dance” and “Poker Face,” I had higher hopes for her. There’s not much variation on “Born this Way.” Ironically, when the songs get more melodic that’s when they sound more like Madonna. Case in point: the very catchy “Bad Kids.” I also really like “Americano,” Lady Gaga’s “Isla Bonita.” “Fashion of His Love” is yet another soundalike to “Vogue” and “Express Yourself.” Ditto “Black Jesus +Amen.” Lady is obviously ga ga over this period. (There are also references in a couple of these songs to Whitney Houston’s “I Want to Dance with Somebody Who Loves Me.”)
One thing to say in Lady Gaga’s favor. Like Madonna, she has a good sense of timing. There’s a song here called “Government Hooker” that is almost prescient considering the current spate of politicians, movie stars, and businessmen in sex scandals. Watch for “Government Hooker,” positioned at number 3 on the track listing, to be a hit single. And one of many over the next year. This is the era of Lady Gaga. Things could be worse. Let’s dance.
Box Office: The “Beaver” Getting Buried, “Pirates” Loved Only Overseas
The weekend box office is in, and there are a couple of notable situations. For one, Jodie Foster‘s “The Beaver” is pretty much a dead issue after two weeks. This Friday it will go wider than its current 105 theaters, but it won’t matter. So far, “The Beaver” has grossed around $580,000–the same amount, to compare, as Woody Allen’s “Midnight in Paris.” The difference is that “The Beaver” has been out two weeks and has played in those 105 theaters. “Midnight” did the same in one weekend in six theaters. So that’s it for Mel Gibson and “The Beaver” no matter what happens this weekend. Summit brought Jodie and Mel to Cannes, did a cocktail party for Jodie–which Mel didn’t attend. Likewise he skipped their press conference. Will overseas audiences buy “The Beaver”? That’s all that’s left.
The worldwide take for the new “Pirates of the Caribbean” was a record setter, while American audiences seem to have had it pretty much with the Johnny Depp franchise. In America, “Pirates” took in $90 million for its first weekend–way down from the 2007 opener of the last “Pirates” which did $128 million domestically. Will they really make a fifth movie? Probably, given the wild $246 million the movie’s done abroad. But that also means a possible domestic take of $60-$70 the next time around. Jerry Bruckheimer and Disney cut costs this time by ditching Orlando Bloom and Keira Knightley, and replacing them with much less expensive actors (Sam Claflin, Astrid Berges Frisbey). But they still have the increasing costs of Johnny Depp, Geoffrey Rush, and Penelope Cruz (if she returns). The overseas success of “Pirates” this week does show that the world is hungry for any brand name entertainment, which is worth noting. Americans, however, know when they’re seeing the same thing over and over.
Woody Allen Scores with “Paris,” Casts Judy Davis In Next Film
Woody Allen had a big weekend with “Midnight in Paris.” The absolutely terrific comedy made $579,000 in six theaters. It could turn out to be Allen’s biggest hit ever, certainly as big as “Vicki Cristina Barcelona.” Now Allen gets ready to shoot his next film, “Bop Decameron,” in Rome, with an all star cast. Allen told me that he’s cast Judy Davis, who’s been in several of his films including “Husbands and Wives” and “Alice.” Davis joins cast that already includes Penelope Cruz, Roberto Benigni, Jesse Eisenberg, Alec Baldwin and Ellen Page. I do wish at some point Allen would go back and do a reunion film with Tony Roberts and Diane Keaton. The other night on the Croisette, the Cannes Film Festival did a big outdoor screening on the beach of Roberts and Catherine Deneuve and Yves Montand in “Le Sauvage” from 1975. We stopped and watched it from the sidewalk for a bit, and the film really holds up. Roberts is underrated. But he will always be associated with Woody from “Annie Hall,” “Play it Again, Sam,” and appearances in several other Allen films. Meantime, “Midnight in Paris” shows that Allen, age 75, remains the premiere (living) American filmmaker, along with Scorsese, Eastwood, Coppola, Lucas, and Spielberg.
Cannes Winners: Tree of Life, Kirsten Dunst, “The Artist” Star Jean DuJardin
It’s not s shock: Terrence Malick was a year late presenting “The Tree of Life.” He didn’t come to his press conference or premiere party, and walked in at the end of his premiere screening. Almost no one saw him. So of course he won the Palm D’Or tonight in Cannes. For the film. For the effort of making a two hour, twenty minute philosophical meditation on the creation of the universe. He didn’t win Best Director. That went to Nicholas Winding Refn for his stylish “Drive.” Kirsten Dunst was not held responsible for Lars von Trier‘s crazy comments, and won Best Actress for “Melancholia.” This performance and this film are more resonant than “Tree of Life.” And French superstar Jean DuJardin won Best Actor for “The Artist.” I am telling you now: watch this actor, this film, and more become a big deal in the fall and go on to Oscar status at least in multiple nominations. The Cannes winners are all good choices, I think. “Tree of Life” is one weird movie, but it’s also brilliant, flawed, and a conversation starter. Brad Pitt doesn’t get enough credit; he’s very good in it. The film is a piece of art. Put up on your wall and talk it over. Will it be a hit? Very minor. An awards magnet? Hard to say. As I said before, Fox Searchlight should make a short film of the nature video stuff that’s one half the film and put in an IMAX theater. More on Cannes, with a wrap up later. We should note, no mention of Sean Penn or “This Must Be the Place.”
Scorsese Could Wind Up Directing DeNiro Again in “The Comedian”
EXCLUSIVE Robert DeNiro has been such a great presence in Cannes this week as head of the jury. And he’s also been much on everyone’s minds concerning movies. He’s got a wedding movie in the works with Diane Keaton, an Italian film being shown in the market to distributors, and something really cool in the offing.
I’m told that producer Art Linson has written a script that DeNiro loves called “The Comedian.” It’s about an insult comic, described sort of like Don Rickles meets Joan Rivers. Hot shot younger generation Friars Club comedian Jeffrey Ross helped Linson by writing DeNiro’s stand up routines, and they say that DeNiro loves the material.
The movie is all set up and financed–Linson, after all, is a pro of pro’s. And the next step is to convince Martin Scorsese to direct. Of course, Scorsese directed DeNiro years ago as a comedian in the classic 1982 film, “The King of Comedy.” But I’m told this comedian is quite different than Rupert Pupkin, and would be a serious role with Oscar potential for DeNiro.