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Controversial Prince documentary cancelled over estate dispute

Controversial Prince documentary cancelled over estate dispute

CBC07-02-2025

A Netflix documentary series about Prince by an Oscar-winning filmmaker has been cancelled after the late singer's estate blocked its release.
The completed, but untitled, series by Ezra Edelman was delayed in 2024 after representatives for Prince's estate viewed a cut and claimed it had factual errors and that it sensationalized parts of the singer's life, according to Variety.
Netflix and the estate said Friday the project has been scrapped, under an agreement that will see the latter "develop and produce a new documentary featuring exclusive content from Prince's archive," according to a joint statement.
The estate also released a short video on X showing photos of Prince as his music played. The video included the caption: "The Vault Has Been Freed," an apparent reference to Prince's personal archive of recordings.
Edelman previously made 2016's O.J.: Made in America, an eight-hour deep dive which won an Academy Award and widespread acclaim for its unflinching, complex look at the life and criminal trial of O.J. Simpson.
Edelman reportedly spent nearly five years on the Prince project, which included interviews with many of the star's former collaborators, assistants, friends, managers, family members and partners — including several girlfriends who accused the rock star of physical and emotional abuse, according to a September report in the New York Times.
One girlfriend who also worked with Prince as a member of his band in the 1980s, Jill Jones, alleged he had once punched her in the face repeatedly after she slapped him.
The documentary also delved into Prince's abusive childhood and complicated layers of his personal life, as well as the musical icon's intricate music and persona. The final edit is reportedly nine hours long.
Prince died in 2016 of an accidental fentanyl overdose, leaving his estate to be split between six siblings — touching off a prolonged legal battle which may have contributed to the estate's ambivalence about the documentary. It was reportedly approved when the estate was still being managed by a bank.
"False and unsubstantiated rumors, hate and vengeance more than showing the brilliance & MUSIC will NOT be the focus of a 'definitive' doc on Prince!" L. Londell McMillan, a lawyer who helps manage one of the companies in charge of the estate, said Friday on X.
It was a repost of remarks he originally made last fall, as fans first began to discuss the alleged content of the documentary in the wake of the Times article.
Following the news that it had been cancelled, and would be replaced by a documentary crafted with Prince's estate, fan reaction has been split — some saying they are not interested in what they assume will be a censored, sugarcoated look at his life. Others praised the estate for protecting Prince's image.
Representatives for Creative Artists Agency, which represents Edelman, did not respond to CBC News's request for comment. Edelman has not commented about the project's cancellation or controversy.
But in December, on the podcast Pablo Torre Finds Out, Edelman spoke generally about the state of the documentary film industry, criticizing the increase of documentaries made under the supervision of their subjects.
"The type of documentaries that are more popular and more prevalent are increasingly things that are shown by streamers that are sometimes about famous people, artists, singers, whomever... bordering a little bit on branded content because they're done in connection with the subjects themselves, who often are producers," he said.
"The idea of documentary-filmmaking as journalism is being sort of pushed by the wayside a little bit."
He said he believes there is "less of an emphasis on art," in mainstream documentaries right now.
"If the subject has any creative control, I have a problem."

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Oscar-winning stop-motion filmmaker devoted his life to storytelling
Oscar-winning stop-motion filmmaker devoted his life to storytelling

Globe and Mail

time4 hours ago

  • Globe and Mail

Oscar-winning stop-motion filmmaker devoted his life to storytelling

Canadian animator Jacobus (Co) Hoedeman almost didn't make the short film that won him an Oscar at the 1978 Academy Awards ceremony. As a full-time animator at the National Film Board, Mr. Hoedeman needed the approval of a committee of NFB filmmakers before starting work on his 13-minute stop-motion animated film The Sand Castle. According to his 2021 autobiography Frame by Frame: An Animator's Journey, his whimsical story idea initially received only lukewarm support but after much debate 'the project was accepted, and I would happily play with sand for the next year or so.' After filching a supply of sand from a local farm, Mr. Hoedeman built a set at the NFB's Montreal studio and created a cast of sand characters who frolicked on a dune, dancing and shapeshifting before finally banding together to build a castle. His puppets were sculpted from a foam rubber mattress, given internal wire 'skeletons' and then soaked in latex before being coated with sand. 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Like their neighbours, his parents, Anna-Maria (Holtkamp) and Gosen-Jacobus Hoedeman, a tailor, faced five years of brutal military occupation that included constant threat of forced-labour camps, strict curfews, and near starvation during the Hunger Winter (Hongerwinter) of 1944-45. At age four, young Co was in poor health, so he, his twin brother, Ferry, and older brother, Jos, were taken 85 kilometres east by bicycle to live in the countryside with different relatives. Mr. Hoedeman did not return to his family in Amsterdam until the country was liberated by Canadian troops in May 1945. As a youngster in peacetime, Mr. Hoedeman spent long hours with his grandfather and father at their tailor shops, doing simple jobs and playing with scissors and leftover fabrics. Those sewing chores served him well later as he designed puppets and built props. Uninterested in academics, Mr. Hoedeman left school at 15 and entered the film business as a junior animator in the 'trick-film' department of Multifilm, a multi-faceted movie studio that later grew into Cinecentrum. Here he learned stop-motion animation, where still objects were painstakingly moved infinitesimally and filmed a frame at a time; he used the technique in television commercials and movie title sequences, and as special effects in documentaries. Eager to explore his new trade, Mr. Hoedeman devoted his evenings and weekends to film and photography studies that continued through his obligatory two-year stint in the Dutch army where he was posted to a military film unit. But after returning to his old job, he became restless and dreamed of escaping the constraints of commercial work for the sort of experimental animation being produced in Canada by the NFB, whose films he had studied as a student. 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'Co was one of the top people who went from one technique to another. He could improvise very well and was passionate about learning new things,' his old friend says. By the 1970s, the young couple had three children and after a few years in Hudson, Que., moved in 1974 to a rundown 100-acre farm near Alexandria, Ont., that nudged the Quebec border. Together they raised their son and two daughters, and tended a menagerie that included pigs, two horses and a cow, learning essential farm skills as the need arose. 'The farm was for fun,' recalls youngest daughter Anouk Hoedeman, now 55, who remembers her father as playful and a joker. 'But the chores started at 6 a.m.' She recalls how her father applied the same skill set on the farm as in the animation studio. 'He had patience and an innate ability to figure things out in almost an instinctive way. ... How to run the farm, the tractor, fix the baler.' 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timea day ago

  • Toronto Sun

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