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Brandon Flynn to play James Dean in new biopic, Entertainment News

Brandon Flynn to play James Dean in new biopic, Entertainment News

AsiaOne10 hours ago

Brandon Flynn will play James Dean in a new biopic.
The 13 Reasons Why actor has been cast as the late legendary star in Willie and Jimmy Dean, writer-director Guy Guido's upcoming film, which is based on William Bast's 2006 memoir Surviving James Dean, in which he alleged he had a love affair with the Hollywood icon at the University of California, Los Angeles.
Brandon, 31, has praised the script for humanising his character and showing an understanding of who he really was.
He told The Hollywood Reporter: "James Dean is like the known unknown. His short life left behind just three films, a mountain of photographs and a cultural mythology we keep trying to decode. This script is a beautiful attempt at truthfully understanding who he really was — not just the icon, but the man.
"It highlights how Hollywood has historically forced LGBTQ people into performance, even in their personal lives.
"This story dares to present James Dean as a man with real, complex relationships, and I think there's power in that truth."
The script is set from the first meeting between the two men to James' death in September 1955 and Guy is delighted to have Brandon on board.
He said: "This is not a traditional biopic. It's a tender and sometimes tragic story about two young men who found each other in a time and place where being seen — truly seen — came at a cost. Brandon Flynn brings both the fire and vulnerability this role demands. I couldn't imagine anyone more perfect to explore and play out the complexities of James Dean."
The filmmaker, who spoke to William in 2011, four years before his death at the age of 84, previously told how he felt "drawn" to the author's "unique story".
He told The Hollywood Reporter: "I have been a fan and historian of James Dean since I was 18 years old, so I knew about his 'friend' Willie, even when information about their relationship was straight-washed by the Hollywood machine.
"As a filmmaker, I love telling the story of a celebrity's life in their coming-of-age period. As a gay man, I was particularly drawn to Bast's unique story."
In the book, William claimed he and the Hollywood legend become roommates, close friends and eventually lovers during their time at the UCLA's theatre programme when the pair were 19.
The author — who also wrote James Dean: A Biography in 1956 — claimed the fling was kept private in an effort to protect the actor's flourishing Hollywood career, though he hoped he could reunite with his supposed forbidden lover one day.
However, the writer's dream of a relationship was cruelly taken away from him when the Rebel Without a Cause star died in a car accident at the age of 24 in 1955.
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Brandon Flynn to play James Dean in new biopic, Entertainment News
Brandon Flynn to play James Dean in new biopic, Entertainment News

AsiaOne

time10 hours ago

  • AsiaOne

Brandon Flynn to play James Dean in new biopic, Entertainment News

Brandon Flynn will play James Dean in a new biopic. The 13 Reasons Why actor has been cast as the late legendary star in Willie and Jimmy Dean, writer-director Guy Guido's upcoming film, which is based on William Bast's 2006 memoir Surviving James Dean, in which he alleged he had a love affair with the Hollywood icon at the University of California, Los Angeles. Brandon, 31, has praised the script for humanising his character and showing an understanding of who he really was. He told The Hollywood Reporter: "James Dean is like the known unknown. His short life left behind just three films, a mountain of photographs and a cultural mythology we keep trying to decode. This script is a beautiful attempt at truthfully understanding who he really was — not just the icon, but the man. "It highlights how Hollywood has historically forced LGBTQ people into performance, even in their personal lives. "This story dares to present James Dean as a man with real, complex relationships, and I think there's power in that truth." The script is set from the first meeting between the two men to James' death in September 1955 and Guy is delighted to have Brandon on board. He said: "This is not a traditional biopic. It's a tender and sometimes tragic story about two young men who found each other in a time and place where being seen — truly seen — came at a cost. Brandon Flynn brings both the fire and vulnerability this role demands. I couldn't imagine anyone more perfect to explore and play out the complexities of James Dean." The filmmaker, who spoke to William in 2011, four years before his death at the age of 84, previously told how he felt "drawn" to the author's "unique story". He told The Hollywood Reporter: "I have been a fan and historian of James Dean since I was 18 years old, so I knew about his 'friend' Willie, even when information about their relationship was straight-washed by the Hollywood machine. "As a filmmaker, I love telling the story of a celebrity's life in their coming-of-age period. As a gay man, I was particularly drawn to Bast's unique story." In the book, William claimed he and the Hollywood legend become roommates, close friends and eventually lovers during their time at the UCLA's theatre programme when the pair were 19. The author — who also wrote James Dean: A Biography in 1956 — claimed the fling was kept private in an effort to protect the actor's flourishing Hollywood career, though he hoped he could reunite with his supposed forbidden lover one day. However, the writer's dream of a relationship was cruelly taken away from him when the Rebel Without a Cause star died in a car accident at the age of 24 in 1955. [[nid:719440]]

Rebel Wilson wants more action comedy roles after starring in Bride Hard, Entertainment News
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Warner Bros discovers it can't be everything
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time16-06-2025

  • Business Times

Warner Bros discovers it can't be everything

IN WHAT is quickly becoming a pattern, Warner Bros Discovery is making headlines for taking a mulligan. Less than a month after reversing its inexplicable 2023 decision to drop the valuable HBO branding from its streaming service, HBO Max, the entertainment conglomerate is following up on its three-year-old merger of two separate companies them into two separate companies. The specifics of this and similar recent shake-ups make clear a troubling trend: Media giants attempt to be every kind of entertainment company at once, and then struggle to do much of it particularly well. Ultimately, the audience is left with the short end of the stick. To be fair, the split isn't quite a full-blown reversal like the HBO Max to Max back to HBO Max branding backflip. The 2022 merger brought together WarnerMedia's assets (including Warner Bros, DC Entertainment HBO, CNN and TNT) with Discovery's holdings (Discovery Channel, TLC, Discovery+ to name a few). 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Still, we're not talking about some fly-by-night operation – Warner Bros recently celebrated its 100th anniversary and has become shorthand for excellence in film and television. BT in your inbox Start and end each day with the latest news stories and analyses delivered straight to your inbox. Sign Up Sign Up Within that century, it released 1927's The Jazz Singer, an industry disrupter that was the starter pistol for the 'talkies' revolution. The studio was praised for its gritty, socially conscious Depression-era dramas and crime pictures and released legitimately iconic movies such as Casablanca, Rebel Without a Cause, Bonnie & Clyde, The Exorcist, Goodfellas, The Shawshank Redemption, the Harry Potter franchise and (of course) the Looney Tunes shorts and features. And let's not forget Warner Bros produced smash TV shows such as Friends and ER. All of which prompts the question: If a company with that kind of pedigree can't stay afloat in a media landscape that's perpetually hungry for entertainment (or, to put it less artfully, 'content'), who can? The bleak current outlook of the industry indicates that perhaps the answer is 'no one'. Even the Walt Disney Co, which has managed to couple a keen eye for valuable properties with a cultural influence and brand recognition that most other studios can only dream of, may not be infallible. Between the decreased dominance of the Marvel Cinematic Universe and the chinks in the armour of its Disney+ streaming service, it's seen better days. Universal Studios, America's oldest surviving film studio (founded in 1912) and still the go-to image of motion picture production thanks to its popular tours, is in the midst of its own sorting-and-separating process. Its parent company, Comcast, announced plans last year to split the oversized NBCUniversal into two groups. Like Warner Bros Discovery, it separated into profitable assets (such as NBC, Bravo, Peacock and theme parks) and less profitable ones (the likes of USA, Syfy, E!, Oxygen, MSNBC and CNBC). Only time will tell if the less lucrative group can survive on its own. The uncertainty is an unfortunate symptom of a fractured media landscape that has been saturated with more viewing options than audiences can (or want to) keep track of. One thing that is not a mystery is that if executives want to compete in a crowded field, they have to be willing to think outside the boxes they've so carefully constructed. Warner Bros did that in a big way at the end of the 1940s. When profits had fallen by more than 50 per cent (due to multiple factors, including the Paramount Decrees and the looming threat of television), Jack Warner tightened belts at the studio. He ended long-term contracts with several of its most expensive stars. It was painful and difficult, but it kept the doors open and the lights on, and the studio reconfigured how they made movies for the changing times and trickier landscape. One could argue that these spin-off solutions are roughly equivalent to Warner's cuts, but solving contemporary problems requires executives to fixate on more than mere numbers as measures of success. As in past moments when audience attention has wavered (in the face of such threats as radio, television and home video), the best solution lies not in bookkeeping but in creativity – empowering filmmakers, showrunners, writers and actors to produce entertainment that genuinely excites audiences and compels them to seek it out. BLOOMBERG The writer is a film critic and historian whose work has appeared in The New York Times, Vulture, The Playlist, Slate and Rolling Stone. He is the author, most recently, of Gandolfini: Jim, Tony, and the Life of a Legend.

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