Across The Universe (Julie Taymor, 2007)

[tavernier]

That was a pretty shoddy hatchet job--I'm no big fan of Taymor's, but she deserved better than that. Still, when the writer's name is "Finke" (why the extra "e"?), it's not surprising.

[Bajaja]

Even though it is not easy to draw a line between facts and rumors in Finke's "article", I am becoming a bigger fan of Taymor by a minute. And I only own her staging of Stravinsky's Oidipus Rex. (But did see, and like, both Titus and Frida, and a great 30-min interview on PBS a few years ago.)

[Antoine Doinel]

Finke's article is just as extremely pro-studio as the NY Times piece was extremely pro-artist.

The bottom line is this - the studio got itself into a production it was thinking as a mainstream, Beatles musical that would embrace a huge audience. Unfortunately, they hired the completely wrong director to do the job. Just even a cursory look at her previous films would've told them that and now they are "stuck" with a far more "arty" piece than they wanted. This is a classic example of studios not knowing the project or talent they have on hand until it's too late.

I don't understand why they don't just solve the issue by promising Taymor her cut on DVD and moving along. It's really the best Taymor can hope for at this point and as much as I hate to see directors having to back down, it's honestly the best she can hope for at this point. Trying to stick to her guns may end up doing her more harm both to her film and career than trying to reach some kind of compromise.

P.S. As for the supposed Frida meltdown in front of test audiences, that was actually instigated by Harvey Weinstein. The film actually tested remarkably well (in the mid-80s) but Weinstein wanted her to make more changes so the audience would understand clearly every single aspect of the movie, particularly details regarding the Mexican Revolution. Taymor thought it was a ridiculous idea as the film is about Kahlo, and whether or not the audience understands all the ins and outs of the Mexican Revolution was fairly irrelevant. Weinstein then went out on and threatened to sell the film to HBO and pretended to fire three Miramax executives on the spot. (paraphrased from Peter Biskind's Down And Dirty Pictures)

[MichaelB]

This is a classic example of studios not knowing the project or talent they have on hand until it's too late.)

How appropriate that this should be in the wake of the DVD release of Performance, where Warner Bros thought they'd paid for a remake of A Hard Day's Night starring those lovable scamps the Rolling Stones...

[Tommaso]

Trying to stick to her guns may end up doing her more harm both to her film and career than trying to reach some kind of compromise.

I think the harm's already done. After what has been going on, I don't think she will be given her cut on a dvd release, because if the film actually becomes successful in the butchered version, they will certainly not want to compromise dvd sales by what is apparently a totally different film in effect. The other possibility is that the film is ONLY released on dvd if she 'wins' in the end, but that of course would also be harmful because only few people will ever have heard of it.
As to her career: that Finke article is probably right in saying that she will never again be hired by Hollywood. But does this necessarily mean the end of her career? I'm probably over-idealistic (as usual), but I think a talent like Taymor would be able to only fully develop outside Hollywood nowadays, and I guess she could very well make some films in Europe instead. Even an eccentric like Greenaway still manages somehow to get his films financed.

[domino harvey]

This all reminds me of that American History X debacle a few years back

[Antoine Doinel]

I think the harm's already done. After what has been going on, I don't think she will be given her cut on a dvd release, because if the film actually becomes successful in the butchered version, they will certainly not want to compromise dvd sales by what is apparently a totally different film in effect. The other possibility is that the film is ONLY released on dvd if she 'wins' in the end, but that of course would also be harmful because only few people will ever have heard of it.

I don't know - studios love double-dipping on DVDs. There were three different incarnations of Alexander, and Kingdom Of Heaven was eventually re-released as well. I don't the studios actually care about which version people saw in theatres. For example 40 Year Old Virgin has only been released in an unrated, extended version on DVD (and is shortly being released again with a few more extras in a double-disc edition). If anything, if the studios can milk as many versions of a film on DVD as they can, they will.

With this film, they can release an "extended" cut featuring "MORE BEATLES MUSIC!". The marketing is practically done for them.

As to her career: that Finke article is probably right in saying that she will never again be hired by Hollywood. But does this necessarily mean the end of her career? I'm probably over-idealistic (as usual), but I think a talent like Taymor would be able to only fully develop outside Hollywood nowadays, and I guess she could very well make some films in Europe instead. Even an eccentric like Greenaway still manages somehow to get his films financed.

Well, if anything I think Taymor will be avoiding Hollywood, not the other way around. But more realistically, I can imagine Taymor will (sadly) return to stage productions should this situation not end positively.

[toiletduck!]

I can imagine Taymor will (sadly) return to stage productions should this situation not end positively.

"I demand you clarify your parenthetical," he said bristlingly.

-Toilet Dcuk

[Antoine Doinel]

Oh, I didn't mean to imply her stage work was bad! Just that her experiences in Hollywood will probably keep her away from developing any films for a long while.

[tavernier]

So far Taymor's been a far more interesting stage director than film director: whatever you think of "The Lion King," her staging of it is phenomenal; her "Oedipus Rex" (on DVD) is the best I've seen; and her production of "The Magic Flute" at the Met is a consistently inventive delight.

If she stays away from movies for awhile and concentrates on the stage, I for one won't weep.

[Svevan]

Agreed with Tavernier. "Indulgent and pretentious" doesn't sound too far off for the director of Titus. Roth's test-marketed movie-making is off-putting as well. Combined, there's pretty much no reason to see the movie, except to watch the ship go down.

[Dylan]

Combined, there's pretty much no reason to see the movie, except to watch the ship go down.

Well, Bruno Delbonnel is the cinematographer, which would be enough to get me in a theatre even if the film itself didn't look wonderful (I think it does).

It sounds like Taymor will be pulling a Gilliam and holding the film for ransom until she reaches an agreement with the powers that be to release a version as close to her cut as possible. Good for her, and I really hope she comes out on top.

[patrick]

Looks like Taymor has found her next project, and if she can make it into something good I'll call her a miracle worker.

From Playbill:

Spider-Man Musical to Take Gotham in Upcoming Reading

By Ernio Hernandez
16 Apr 2007

A reading of the new musical Spider-Man will take place in New York City July 12 and 13, Playbill.com has learned.

A casting notice reveals the "29-hour rehearsed reading" will begin rehearsals July 2 for the two-day event.

As previously reported, Julie Taymor will direct the forthcoming musical version of the Marvel Comics hero with music provided by Bono and The Edge of the band U2. According to the notice, Glen Berger — playwright of Underneath The Lintel and The Wooden Breeks — will join Taymor on the book. (Neil Jordan — of "The Crying Game" fame — had previously been attached.) Taymor consistent collaborator Matthias "Teese" Gohl ("Across The Universe," "Frida," "Titus") will serve as musical supervisor.

The comic giant Marvel Entertainment will share producing credits with Hello Entertainment/David Garfinkle and Martin McCallum.

Taymor made history in 1998 as the first female director to earn the Tony Award for Best Direction of a Musical for the Broadway musical The Lion King — albeit mere moments after Garry Hynes became the first woman to win a Tony Award for Direction (for The Beauty Queen of Leenane). She also earned the Tony for Best Costume Design that night as well. The multi-genre director has lined her resume with Broadway credits (Juan Darien and The Green Bird), film work ("Titus" and "Frida") as well as opera productions ("Oedipus Rex" and the Metropolitan Opera run of "The Magic Flute").

Among the roles being sought to fill are the young-man-turned-hero Peter Parker/Spider-Man ("male, late teens to early 20's...[with a] great pop/rock voice") and love-interest Mary Jane ("female, late teens to early 20's...[with a] great pop/rock voice") as well as villain Norman Osborn/Green Goblin and Daily Bugle publisher J. Jonah Jameson (both call for "male, 50s.")

The character breakdowns provide some insight to plot points as the character Arachne ("female, 20-35 years old, any ethnicity") is described as "a beautiful, boastful young woman turned into a spider for her hubris and lack of respect for the gods. She subsequently appears to Peter Parker and the audience as in turn a powerful spider-woman who comes from another time to inspire Peter; an otherworldly lover; a bride; a terrifying (and sexy) dark goddess of vengeance; a dance partner in a charged and violent spiders dance of death; and, finally, a lonely, fragile young woman." Casting is seeking a "strong Celtic, Balkan style, e.g., Sinead O'Connor," noting, "outside the box ideas are welcomed. Could be someone from the music industry."

Also, a "Geek Chorus" consisting of "three teenage boys and one girl" are described to "meet to ritualistically retell the greatest Spider-Man stories."

[Antoine Doinel]

If The Lord Of The Rings can be turned into a successful and acclaimed stage show, anything is possible.

Also, Taymor managed to turn The Lion King into a highly regarded show as well, so it wouldn't surprise me if she were able to pull this off.

[tavernier]

If The Lord Of The Rings can be turned into a successful and acclaimed stage show, anything is possible.

I thought LOTR: the Musical bombed badly in Toronto....

[Antoine Doinel]

Now that the film is receiving a gala screening in Toronto, does anyone know what the status is of the final cut?

[flyonthewall2983]

I'm pretty lazy when it comes to these things, but does anyone know if Paul, Ringo, or the widows will get a look at the film before release, or if they have said anything about it in the press?

[Dylan]

On Julie Taymor's official "Across the Universe" MySpace page one can view several thirty second clips from the film and all three trailers, as well as read interviews and details on the soundtrack release.

Although I could be wrong, I believe this film is going to be a big hit; whether the film itself is successful or not, I believe the sudden wide release of an audacious, gorgeously visualized production on the tail of the absolute worst summer in the history of motion pictures will catch more than several million eyes...that, and virtually everybody I know outside of this board is very interested in seeing it.

[Antoine Doinel]

It looks like Taymor and Roth have finally agreed on a final cut. The running time is now 133 minutes and according to the NY Times leans more towards Taymor's original cut.

And yes, the surviving Beatles and the respective widows have seen the film.

More on the film from the NY Times:

[quote]
Re-Meet the Beatles Through the Voices of a New Narrative

By SYLVIANE GOLD
Published: September 9, 2007
FOR most anybody who was over 12 and under 30 in 1964, the sound of the Beatles is immutably fixed in the brain, parked somewhere near the Pledge of Allegiance and two plus two makes four. With the opening on Friday of Julie Taymor's new movie, “Across the Universe,â€

[flyonthewall2983]

[quote="Antoine Doinel"]And she had planned to include “You've Got to Hide Your Love Awayâ€

[Antoine Doinel]

[quote="flyonthewall2983"][quote="Antoine Doinel"]And she had planned to include “You've Got to Hide Your Love Awayâ€

[Belmondo]

Math was never my strong point; but, given the running time of the film, the average length of a song, and the number of songs; we may have a movie that is almost entirely music. Could be good ... I'm open minded on any radical re-interpretation of the Beatles' music, and one of these days we are bound to get a "rock opera" worth talking about. If this ain't it, then we get to go highbrow in a couple of months with Sweeney Todd.

Lennon, McCartney, Sondheim - at least we are moving in the right direction. If they screw this stuff up, then I'll be one pissed off, balding, old and in the way, hippie freak, and I will raise Sweeney's blood stained razor as the perfect metaphor for the complete inability of these two erratic filmmakers to capture the magic of days gone by or to offer some contemporary magic of their own.

Until then,
Peace, brother.

[Jeff]

Math was never my strong point; but, given the running time of the film, the average length of a song, and the number of songs; we may have a movie that is almost entirely music.

There are indeed only 30 minutes of spoken dialog in the film.

[domino harvey]

Actual footage from the film. I mean, holy smokes was that way worse than I could have ever anticipated. I think I'd rather sit thru 133 minutes of this.

[Barmy]

This looks absolutely dire. Definitely a Raspberry contender.