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‘Spider-Man’ on Broadway May Have Found Its Angels

Roger Friedman
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The much anticipated, magnificently expensive Julie Taymor-directed musical of “Spider-Man,” with music by U2, may have its financial backers.

Sources say that Jim Stern, of Endgame Productions, may fill in the $10 million gap left behind when another Chicago investor, David Garfinkle, had financial trouble a few weeks ago. “Spider-Man: Turn off the Dark” may cost as much as $45 million in the end.

evan rachel wood 196x300 Spider Man on Broadway May Have Found Its AngelsAt the same time, another name in the mix, with Stern, is Norton Herrick, the New Jersey real estate mogul who recently made and distributed the Renee Zellweger film. “My One and Only.”

Herrick has acknowledged that he may be involved. Stern declines to comment.

Stern, who I think is 52 but looks 16, has had a short brilliant run as a Broadway investor after making millions on Wall Street investing in hedge funds. He’s been behind both “The Producers” and “Hairspray,” to name a few. He’s also releasing a great movie this Friday through Sony Pictures Classics. “An Education.” starring Carey Mulligan and Peter Sarsgaard, is a cinch for many Oscar nominations including acting, directing, script, and Best Picture.

Herrick has also been a recent Broadway angel. In the last year, he’s had positions in “Hair,” “Desire Under the Elms,” “9 to 5,” and “Exit the King.”

Stern is an unusual guy. He co-directed the documentary about “A Chorus Line,” called “Every Little Step,” which could also be up for an Oscar this season. In the business, Stern is still an enigma. But expect all that to change soon.

“Spider-Man: Turn off the Dark” stars Evan Rachel Wood (pictured) and Alan Cumming. Sources also tell that Peter Parker has been cast, but not announced. In the musical, only Peter will sing. Spider Man himself will be represented by five different blue and red wall crawlers and flyers. And he will not carry a tune, just a web, and maybe Mary Jane (Wood).

It’s Time for Disney to Give Back the Miramax Name

Roger Friedman
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There was sad news last Friday for the indie film world. Disney is downsizing the new, or faux, Miramax. This is the post-Weinstein Miramax run by the very popular and talented Daniel Battsek since the Weinsteins left to start their own company four years ago.

The plan, according to reports in THR and elsewhere, is for Miramax to be stripped down to nothing but three releases a year. Battsek, who brought plenty of good films into the tent, is staying with the company. But most everyone else is leaving. It’s truly a shame, but it’s also probably a function of Dreamworks coming to Disney. If the Spielberg studio had wound up at Universal, Focus might be the mini that was folded.

So what to do now? It seems like a good time for Disney to give the Miramax name back to the Weinsteins. Either use it or lose it, you know. Miramax is named for the Weinstein parents Miriam and Max. It has nothing to do with Disney. Even now, the Miramax website features the ton of videos left behind by the Weinsteins including two Best Picture winners (”Chicago,” “The English Patient”) and a raft of Oscar nominees (from “Good Will Hunting” to “The Cider House Rules,” “Pulp Fiction,” “In the Bedroom,” “Cinema Paradiso,” etc).

Of course there was a lot of enmity between the Weinsteins and Disney during their divorce. But that was in the day of Michael Eisner. Disney’s Bob Iger is a different person, and the incoming new chief Rich Ross has no history with them. Keeping Miramax would be similar to Disney losing their Buena Vista label. They’d be fighting for it forever.

The Weinsteins haven’t said anything (at least not to me) but if Disney is really whittling the name down to nothing, this would seem like a good time to return it. Disney still keeps all the movies made by Harvey and Bob, and by Daniel. But a legacy is returned in the process. For a company based on old fashioned values, this would be Disney’s ultimate act of family friendliness.

Carrie Fisher: Princess Leia Is Broadway’s Overnight Smash with Hilarious “Wishful Drinking”

Roger Friedman
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Carrie Fisher: Princess Leia Is Broadway’s Overnight Smash with Hilarious “Wishful Drinking”

 

 

Carrie Fisher — a five-foot tall ball of fire  —  may be Broadway’s hottest ticket this morning, more so than even Daniel Craig and Hugh Jackman.

Her side-splittingly funny, knowing and incredibly witty “Wishful Drinking” opened last night to rave reviews and a sold-out celebrity-filled premiere.

In the crowd were Jane Fonda and her beau, famed record producer Richard Perry, plus Jane’s actor son Troy Garity and his wife Simone; Mario Cantone, Patti Lupone, Salman Rushdie (a fan and friend ‘ who knew?), the singer from the Scissor Sisters, plus Tovah Felshuh, Harvey Keitel, Martha Plimpton, Gay and Nan Talese, writer Bruce Wagner, many producers, and media types, plus Pat Mitchell, head of the Paley Center. Carrie’s got a lot of friends in show business, and believe me, they are all going to to want to see her one woman show.

There are many highlights to “Wishful Drinking,” although certainly the biggest production number, as it were, is Carrie’s blackboard filled with pictures of all the adults who comprised her parents’ major soap opera of the early 1960s. She calls it Hollywood Inbreeding 101, and with a pointer Fisher recalls the saga of her parents ‘ Debbie Reynolds and Eddie Fisher, along with Elizabeth Taylor and Mike Todd, extending to Connie Stevens, and various hilarious minor players. She stays just this side of slander as she retells the story that made tabloid headlines more than 40 years ago.

“Think of Eddie as Brad Pitt, Debbie as Jennifer Aniston, and Elizabeth as Angelina Jolie,” Fisher advises the audience. The whole thing is an absolute hoot. (”We’re related by scandal,” she tells her 17 year-old daughter who wonders about Mike Todd’s grandson.)

Of course, there is plenty more: Fisher’s life as Princess Leia of “Star Wars,” her failed marriage to Paul Simon, her failed marriage to talent agent Bryan Lourd, and the real story of how a gay Republican operative died in her Hollywood bed two years ago. Yes, there’s also the many rehab stays and a visit to a mental hospital. You’re kind of surprised there aren’t more of those episodes, all things considered.

There are no villains in Fisher’s monologues. It’s just a look back, with a glib touch, to what happened to her and her family in their pursuit of Hollywood fame and power from meager beginnings in Texas (Reynolds) and South Philly (Fisher). In order to make it fit into something workable, Fisher skips a few chapters: her work on Hollywood films, her roles in “Shampoo,” “When Harry Met Sally,” “Hannah and Her Sisters,” and “SoapDish,” some good tales about other Hollywood friends. There’s plenty for a sequel. But what’s she put on stage is magic. Fisher ‘ though she may not realize it yet ‘ has exceeded her famous parents, shed her Princess Leia hairdo, and solidified her place in showbiz.

P.S. No one has the film rights to “Wishful Drinking.” How is this possible? HBO, Showtime, what’s taking so long?

The Real Penny Lane Lends Us A Digi-Cup of “Sugar”

Roger Friedman
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bbcover for pressBebe Buell’s first album in a long time hits ITunes and Amazon’s MP3 library today: www.bebebuell.org.

“Sugar” is written and produced by Bebe with her husband, Jim Wallerstein and his percussion mad partner Bobby Rae, aka Twinomatick. David Minehan plays lead guitar.

They’ve even updated a couple of cover songs — “Air Kisses for the Masses” by Dean Johnson and “Untouchable” by Johnny Thunders.

Bebe is still rockin’ some thirty years after giving birth to daughter Liv Tyler. She’s the hippest grandmother in the rock galaxy. All the songs on “Sugar” are power pop and rock laced with a little punk, strong hooks, memorable melodies and lava-like lyrics. Bebe sings her you-know-what off in this sort of tribute to Marianne Faithfull’s “Broken English.”

“Sugar” catches us up from her days with The Gargoyles in the 1980s. Her many tabloid adventures are captured in the incredibly catchy “Timeline.” Her penchant for writing songs ready for the movies can be found in “Trunk of Dreams.” * (If one or two of these don’t wind up in the next “Twilight” movie then someone’s sleeping in the wrong coffin!)

Did you know that Cameron Crowe based Penny Lane, Kate Hudson’s character in “Almost Famous,” partially on Bebe?

Bebe sold out the Hiro Ballroom in June and Maxwell’s in Hoboken last month. Catch her next at the Village Underground on Oct. 23. And by all means, download “Sugar” before it gets picked up by a label and the price goes up!

Letterman Apologizes to Sarah Palin Again, and to Wife

Roger Friedman
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XX

David Letterman apologized once again to Sarah Palin last night at the end of a long speech expressing regret for hurting his own wife, Regina, last week.

The Palin apology was not sent out with Letterman’s main speech, and why he did it again is a head scratcher. It was unnecessary.

The apology to his wife and staff, however, were heartfelt and moving. They followed his monologue, which was kind of brilliant. Not only did he address the event of last Thursday–the blackmail scheme against him–but then lampooned himself. The latter came in trying but failing to tell jokes about politicians who’d had affairs. Letterman would mention a name, start a joke, and then stop.

He also focused the whole episode on the alleged criminal involved–CBS producer Robert Joe Halderman. Letterman said it was about “pushing back” and not allowing yourself to become a victim. The whole thing couldn’t have been more eloquent or elegantly handled. Hopefully he and his wife will work out their problems. But as far as the audience goes, Letterman should only benefit now from being truthful and, as far as anyone can tell, self-effacing. Well played, as everyone says these days.

New Mariah Carey Movie “Precious” Gets Standing O at New York Film Fest

Roger Friedman
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Lee Daniels‘ “Precious” got a rare standing ovation last night at the New York Film Festival. This is the powerful indie film starring Mariah Carey, who does a wonderful job as a Harlem social worker. She is so inside the character of Mrs.Weiss, with a Long Island accent and no makeup, some fans may have to be convinced it’s the pop singer.

But “Precious” is notable for the performances of Gabby Sidibe,who plays Precious, and Mo’Nique, who steals the film as Precious’s abusive mother, Mary.

As usual Mo’Nique was not in attendance. This time the excuse given was that it was the birthday of her toddler twins. Whatever. Mo’Nique had better get with the program. Everyone else from this movie showed up last night, including Mariah, Lenny Kravitz, and Sherri Shepherd. Even Robert DeNiro has been supporting wife Grace Hightower, who has one memorable scene in the film. He’s gone to all the premieres.

In the audience, besides DeNiro: Jane Fonda and heavyweight record producer beau Richard Perry, Steve Buscemi and wife Jo, Queen Latifah, Harvey Keitel, Gayle King, Malcolm-Jamal Warner, and Chic producer Nile Rodgers (”We Are Family.”)

At the jam-packed party at the Oak Room in the Plaza Hotel, Mary J. Blige appeared with one of the most obnoxious bodyguards ever. He made a big deal of protecting her from…no one. No one cared that she was there. And we thought she was all about “No More Drama.” Ironically, it wasn’t even Mary J. that people wanted to see, but Gabby Sidibe, the star of the movie.

Mariah Carey made a five-minute pit stop at the party, then took off.

“Precious” is clearly the indie sleeper of the year. When it finally arrives in November, expect big audiences. And Oscar nominations in January for Best Picture, Director, Adapted Screenplay, Actress (Gabby Sidibe), and one or more Supporting Actresses (Mariah, Mo’Nique). Lee Daniels has really crafted an emotional rollercoaster in “Precious,” one that never fails to be totally involving. “Precious” is unsparing but it’s also absent of cliche. How refreshing. It’s completely original. No one will want to miss it.

Tom Cruise Lets Suri Visit Normal School

Roger Friedman
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Big News from Boston, where Tom Cruise is shooting his comeback movie, “Wichita.”

This week, Katie Holmes–aka Mrs. Cruise–was seen showing the couple’s toddler daughter Suri a non-Scientology school. Katie was photographed taking Suri into the Yawkey School for Children at the Boston Children’s Museum.

This is key because Cruise’s other kids are home-schooled in Scientology. Katie could easily have taken Suri to the local Scientology school outside Boston. There’s a Delphi Academy right near them. (Delphi is the name of all the Scientology private schools in the country.)

It’s unclear whether they were visiting for the day or will be back. It’s also unclear if Suri will escape Scientology training, or whether this was a one-time photo-op to show that Cruise isn’t completely rigid when it comes to his kids’ Scientology inculcation.

Meanwhile, it seems that “Wichita,” which also stars Cameron Diaz, has picked up Peter Sarsgaard as Tom’s nemesis in this thriller-romance. At the Toronto Film Festival a few weeks ago, Sarsgaard indicated he was in talks to play a villain in a big film. Looks like “Wichita” is it. Good for him. Cruise is excellent at surrounding himself with top notch “real” actors in films. The last “Mission Impossible” film was a knockout because Philip Seymour Hoffman played the bad guy. Jamie Foxx played opposite Cruise in “Collateral.” And so on.

Rolling Stones “Lost” 28-Minute Film to be Released

Roger Friedman
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Now that we’ve gotten past the massive Beatles reissue, it’s time for the Rolling Stones.

In late November, ABKCO–keeper of all the original Stones archives–is going to release a 40th-anniversary box set of the Stones’ seminal, classic, legendary, famous live album, “Get Yer Ya Ya’s Out.”

Yes, the music is amazing. The remastered sound, created at ABKCO’s new downtown recording studio, will just blow your socks off. Not only does it include the original album, recorded at Madison Square Garden in November 1969, but it also includes the opening acts– B.B. King and Ike and Tina Turner. The latter material has never before been available.

The Stones’ portion is the original 10 tracks plus five that were never released. The latter includes a version of “(I Can’t Get No) Satisfaction” that elevates this well worn Stones classic from pop hit to fundamental part of rock history. It’s absolutely stunning.

But–and this is a big but–the highlight of the “Ya Ya”’s package is a 28-minute film put together from material shot by Albert Maysles and his late brother David. The film is going to blow fan’s minds, especially when it’s shown in some movie theaters during its week of release.

The Maysles, of course, also shot the Stones’ infamous free concert at Altamont, the one that became “Gimme Shelter.” So this 28-minute film ends with never been seen footage of the Stones and the Grateful Dead waiting on a rooftop for the helicopter that’s supposed to bring them to Altamont.

You must see Mick Jagger literally snubbing Jerry Garcia, and the Stones barely speaking to the Dead as they all wait for their ride. The irony, of course, is that the Dead organized the Altamont show but never played. The violence was already out of control. And, quite notoriously and tragically, a man was killed during the Stones’ set.

Otherwise, the footage of the Stones in this short film is nothing less than remarkable. First there’s the photo shoot for the cover of “Get Yer Ya Ya’s Out.” This includes a donkey and Charlie Watts, as well as the rest of the band on a shut down stretch of London highway overpass. It’s five years into their celebrated careers. Interestingly, Jagger takes over direction of the shoot. You can see his micromanaging and also his artistic eye at work.

What also makes the 28-minute film so extraordinary is the camera work by the Maysles and their crew. Somehow one of the camera man got behind Mick on the Garden stage. More than ever, and very organically, you feel like you’re on stage with the Stones, in the middle of the action. I’ve never seen anything quite like it.

There’s also stunning footage of Mick and Keith performing as a duo in a blues number. It’s such a beautiful segment that it simultaneously speaks to their own artistry and to the death of music in the contemporary generation. Nothing and no one like this exists anymore. It’s all gone, replaced by machines, tattoos, and coked-out ingenues. You can see why Beatles reissues are holding down ten spots on the album charts now.

James Franco: Soap Opera is “Performance Art”

Roger Friedman
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James Franco, one of our hottest and most interesting young actors, joins ABC soap “General Hospital” in November for a short run.

Why? What? Franco won raves for his performance in “Milk,” awards for playing James Dean, made big bucks from “Spider-Man,” and has several big films on his release schedule.

The world is puzzling over this odd choice. One thing: he and one of the “GH” actors share a manager. But that’s not enough to push Franco onto a show that oddly mixes doctors and nurses with a low-rent “Godfather” storyline. So what gives?

Franco gives minimal explanation. He tells me, only: “It’s performance art.”

That’s it. He can’t even say why he’s chosen this soap over another. But Franco marches to a different drummer. He’s spent the last few years as a part-time academic and would be writer. He’s got a contract with Scribner’s for a book of stories. He’s in a graduate creative writing program at NYU and Columbia University. Prior to that, while he was making “Spider-Man,” he was also getting his B.A. from UCLA.

The message: he can do anything he wants. In this last year he’s also made experimental films shown at the Museum of Modern Art. James Franco, whose mother is a children’s book author and family operates a prestigious art gallery, is not going to be pigeonholed.

And, anyway, he follows in the footsteps of Elizabeth Taylor, who once appeared on “General Hospital.” Rosie O’Donnell and Carol Burnett each have made cameros on “All My Children.” Maybe Franco’s shot will inspire other name stars to drop in on soaps.

If more of the famous soap alumnus returned to their shows for a week–how about Julianne Moore to “As the World Turns” or Josh Duhamel to “All My Children”– it might save the genre from extinction.

Jackson Family Grasping At Legal Straws In Last Ditch Effort

Roger Friedman
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Michael Jackson’s family is grasping at straws if they think they “have something” on Michael’s executor, John Branca.

According to reports today, the family ‘ egged on by none other than Jackson hanger-on Brian Oxman ‘ thinks they’re going to oust Branca on some kind of technicality. Oxman claims he has some “smoking gun” about Branca being fired by Jackson in 1990 ‘ only to be rehired three years later. In 2006, after over 25 years on and off, Branca and Michael parted company. A week before Michael died, he rehired Branca.

The irony here will be that Brian Oxman is involved. Oxman, who used to doze off in open court ‘ I mean, snore ‘ during Michael’s criminal trial in 2005, was fired by lead defense attorney Thomas Mesereau. Oxman’s entire connection to Michael was that he represented Randy Jackson when his brother, Jermaine, conducted a takeover of his wife and kids. Oxman was Randy’s divorce attorney. He has hung on to his slim attachment to Michael ever since, sort of the way Harold Lloyd famously hung from the clock in the movie, “Safety Last.”

The Jackson family’s constant attacks on Branca are laughable, and ironic. It was Branca who engineered the purchase of ATV Music aka the Beatles catalog for Michael in the 1980s. After his brief absence, it was Branca again who merged ATV Music with Sony’s music publishing company, got Michael $90 million, and set him up for life. Without that deal, Jackson would have been destitute ‘ and so would the Jackson family as they lived off of Michael’s largesse.

Indeed, it was only during the times that Michael was separated from Branca that he got into real trouble. And it was a stroke of luck that Michael returned to Branca this past spring. Otherwise, Jackson’s children’s interests could have been left in the hands of far more disreputable types ‘ not naming names here ‘ whose interests were purely self-centered.

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