Latest news with #biopic
News.com.au
2 days ago
- Entertainment
- News.com.au
Let's hope Madonna's Netflix series includes her infamous celeb feuds
After more than 40 years in the spotlight – during which she has given countless interviews, invited cameras backstage in the doco Madonna: Truth Or Dare and shared intimacies in the glossy hardcover book Sex – it's hard to imagine Madonna has anything left to reveal in her upcoming Netflix series. Originally planned as a biopic starring Ozark's Julia Garner, the project has pivoted to become a TV series, with Madge now reportedly in talks with Deadpool & Wolverine director Shawn Levy. Garner is still in the mix to play the young Madonna if schedules align. To secure her role as the Material Girl, Garner beat out stiff competition from the likes of Florence Pugh, Emma Laird (Mayor Of Kingstown) and Euphoria's Alexa Demie at a gruelling audition referred to as 'Madonna bootcamp'. Even the Queen of Pop's own daughter Lourdes Leon was in the running. Explaining why she has decided to tell her story on screen, Madonna said in a statement: 'I want to convey the incredible journey that life has taken me on as an artist, a musician, a dancer – a human being, trying to make her way in this world.' Of all the highs and lows of Madonna's much-dissected life, one chapter that would make particularly juicy fodder in the new series is the disintegration of her friendship with actor and wellness empire founder Gwyneth Paltrow. For a brief window in the early 2000s – when both women were married to Brits (Madonna to director Guy Ritchie and Paltrow to Coldplay frontman Chris Martin) and raising their young families in the UK – the A-list expats were the closest of friends. The powerful pals were regularly sighted giggling together at industry events or headed to workout sessions with trainer Tracy Anderson, in their haphazard but luxe exercise gear and matching Kabbalah red string bracelets. Until suddenly they weren't. Before their falling out, the Goop guru gushed that Madonna was like a mentor and older sister, who had taught her the art of saying no. But by 2010, Paltrow was moaning to British Vogue about the cavalier way Madonna treated Anderson, sniping: 'She keeps people waiting – it takes up your whole day.' A year later, Paltrow posted on her Goop blog about an 'insufferable' friend who left her feeling 'drained, empty and belittled'. This was never confirmed to relate to Madge, but their friendship fizzled soon after. Madonna has remained tight-lipped on the not-so-conscious uncoupling – but she also has form for relationships that burn hot and fast. In the 1980s it was actress and comedian Sandra Bernhard who had the lead role as Madonna's closest confidante. The pair appeared regularly in the tabloids at the time, and the singer even famously crashed Bernhard's 1988 interview with David Letterman, where the duo danced and flirted with the bemused host while dressed in identical outfits. Decades later, Madonna's high wattage celebrity having far eclipsed Bernhard's fading fame, the Roseanne star reflected that she didn't enjoy the pop diva's level of visibility, and needed space to evolve as a person. 'I guess for a while we had a real friendship, but it's hard for somebody like [Madonna],' Bernhard mused on the Hot Takes & Deep Dives podcast in 2021. 'She doesn't really want somebody around who reflects too much of who she is. Therefore, her relationships just don't last.' While lasting love may have evaded Madge, her career success endures – thanks to her unmatchable capacity to evolve and push the envelope as an artist. Whether she's Voguing in her iconic cone bra or outfitted in dominatrix black to kiss Britney Spears on stage, Madonna insists the aim of the game has never been reinvention. 'What I have been doing, in my opinion, is slowly revealing myself,' she said at a press conference promoting her 1998 Ray Of Light album. 'Taking off the layers and getting closer and closer to who I really am.' Madonna: Live: A montage of Madonna memories, celebrating her most famous interviews and live acts, including 'Vogue' being performed in full Marie Antionette garb. Unauthorised Biographies With Peter Graves: Madonna is one chapter in a four-part series of celebrity profiles.
The Guardian
3 days ago
- Entertainment
- The Guardian
‘All of us felt like we had touched gold': What It Feels Like for a Girl, the BBC's electric coming-of-age tale
When the BBC was casting its adaptation of Paris Lees's autobiography, What It Feels Like for a Girl, it wasn't the only one wrestling with how to find the right actor to play the lead in a biopic. 'Cher did an interview,' smiles Lees, 'and she said: 'We just can't find somebody that's Cher.' I was like: 'Same, girl. I hear your struggles.' So me and Cher have been going through it.' Sitting next to Lees is the actor they went with, Ellis Howard, who you may remember as the sapling Ivan VI in HBO series Catherine the Great, but who you will never have seen being this luminous. 'In the beginning, we were looking for a trans person,' Lees says. She and Howard are sharing a Zoom screen, and it's not so much that they look similar as that they both look so cinematic, they seem to match – 'But then I just knew, the moment I saw Ellis, that this cheeky, cheeky person could do it.' Lees is known in the public eye via a series of triumphant firsts: the first trans columnist for Vogue, the first trans woman to present on Radio 1, on Channel 4. But her early life was harsh, brutal at times. She was relentlessly bullied at school for being gay, and carried the weight of her father's homophobia, expressed in both formless anger and embarrassment. She became a 'rent boy' when she was 14, but was astonished when she read, in a review of her book in Grazia that she'd been abused. 'Then I thought: 'Hang on a minute. What else would you call that?' It took me a while to realise that was abusive. When people are vulnerable, when they're told they're worthless, that they're almost half a person, you seek validation in the wrong places. It makes me incredibly sad, but it was really important to show my perspective at that time, not my perspective now.' Howard's performance is exquisite: subtle and daring, true to the fact that it would be years before the teenage sex work processed as a violation – and at the time Lees was thrilled about earning all those fivers. 'When you force people into the shadows, don't be surprised when they go fucking dark,' Howard says. 'You've got to silence the part of your brain that goes: 'I am an adult, I am a leftwing progressive.' You've got to go to a place of wonderment and curiosity.' Paris Lees's perspective in the book, which comes across as strongly on the screen, is joyful – this is an incredibly buoyant coming-of-age story, as Howard describes. 'When we were cast, all of us felt like we had touched gold, here. Whether it's our queerness, whether it's our class, whether it's the scars we've been given that make us feel so seen by it, everyone came to give it their all. How often do you get these unicorn projects, that feel so alive? It felt so rare.' Lees gives her adolescent self the pseudonym Byron, and their story opens in 2000, when things were bleak as hell for a gay teenager in a suburban, declining bit of Nottinghamshire. But this is very much not how they felt at the time: 'I definitely had a sense that things are getting better,' says Lees. 'We thought this was the end of history. I had this sense that people were living longer, wages were going up, flights were getting cheaper, they were cloning sheep. It felt like there was going to be more democracy, there was hope, there was a future. We were going to get there with gay rights. I didn't dare to believe we'd get there with the other stuff.' It's beautifully told in the drama, through friendships with divas and ketamine in nightclubs, that to be young in that era may have felt like a train wreck, but didn't feel hopeless. Howard, who was born in 1997, chips in, 'I'm nostalgic for a time I wasn't born in. Listening to P talk about the possibility of Blair and Brown, talk about a time when the NHS functioned, when school ceilings weren't caving in on people's heads, maybe I've doctored that into my brain, but I feel like I can remember a time when progress was possible. Although if I'm honest, my political awareness really began with austerity.' If homophobic bullying was a thing of the past by the 2010s, 'God, no one told my fucking school,' he says. 'No one told Norris Green in Liverpool. I was definitely ostracised. I come from a family of 'aaaah' blokes [impossible to fully convey the meaning, or mad charm of that 'aaaah' - sort of aggro and in-your-face]. I just had this unwavering sense of, I won't be bullied. You're not gonna get me. One of the reasons why I felt so seen by the book, is because this is a kid who was resilient to a mythic level. Your conditions can harden you. That was my experience of school, anyway.' The double-edged nostalgia for that time – post-industrial drudgery leavened by the smell of escape – is particularly poignant to watch now. Nobody in 2000 (trust me on this, I was there) would have predicted that 25 years later, trans people would be openly vilified in the media and drag queens castigated as perverts. It feels as if we inched forward to Scandinavia on LGBTQI+ rights, only to hurtle back to Weimar. Lees says it's more complicated than that. 'It feels like there's been a weird reversal. The public conversation in the media and politics has become very toxic. But think back: when did you ever see somebody working in Boots, that was trans, in the year 2000? When was your GP trans? When were trans people ever allowed to participate in life or society? Nobody had a job; you either had to be a prostitute or you had to not be out.' She breaks off – 'I'm a little bit guarded about this, because it's obviously relevant, but I don't want everything I do to be framed within trans activism. I hate it when people call me a trans activist. I'm not involved in activism now. Obviously, I am trans. I can't escape that. I feel like I could have died, somebody could have shot me, I could have been revived on the operating table, and the headline would still be about being trans.' Both Lees and Howard see What It Feels Like … as being an exploration of the marginalisation of poverty at least as much as it is about trans identity – if not more so. Again, it's complicated: sometimes sex and gender identity cancels out class identity, in the sense that Lees thinks 'being trans has possibly opened doors for me that wouldn't have [otherwise] been opened, to a working-class person'. Other times, the world demands that you pick a lane. 'Often times, as an actor, as a writer, I'm thinking, who am I today? Am I this scrappy working-class kid? Or am I the sensitive queer boy? And those things can't reconcile. To be swallowed in this industry, one has to present oneself in a fixed way. Who gets to live authentically is so determined by your class.' She adds: 'It's a really big part of my identity, just coming from a scarcity mindset. When you grow up and you've got nothing, that has a huge effect on how I live my life, how I think about things, my sense of internal safety and security.' 'Drama is so fucking posh,' Lees continues – not with indignation, almost amused, like she knows she speaks for pretty well everyone but the rest of the world are too polite to mention it. 'I'm just so sick of it. We love all the actors with the posh accents, I get it, but let's just make the space for some other people. It's so boring, the Jane Austenness of it all, the comedy of manners; let's have some real messy stories about real shit that happens. I love that we've got so many working-class actors on this show. The only place working-class people are represented is reality TV. I've had enough of the double-barrelled names. Working-class people are lyrical, we're just not given a voice.' And if it's a rare oversight by the class gatekeepers that this messy, exuberant story got on to TV, it also breaks out of a predictable aesthetic. 'It's so gorgeous to be in a working-class project that is extended beyond the kitchen sink, something that has so much colour and is so visually arresting,' says Howard. 'It has a cinematic feel and scale that is normally only lent to middle-class stories [but is here] given to a working-class story set in the Midlands.' The whole thing has been a white-knuckle ride from the start, Lees says, 'A bit like if they said: 'We're gonna take a picture of you naked. It's going to be displayed in public. But don't worry, we're going to get good people in, you'll have lots of creative control.' Are you ever going to be happy with that picture? This is made out of my core memories.' It has led, however, to Lees's relationship with Howard – part spirit-animal, part younger-self transformed – as well as some other beautiful performances. Both single out Laura Haddock as Byron's mother, who Lees says managed to powerfully channel her mum, without necessarily looking very alike. And the ensemble of fallen divas – endearing, spiky performances from Laquarn Lewis and Hannah Jones, was 'such a headfuck for me', Lees says, as 'there are the actual fallen divas, the real people. Then there are the characters that I created, based on them, in the book. Then there's the TV interpretations, and the actors playing them, who formed their own breakaway group. A lot of what you see on screen, that is just them fucking around.' What It Feels Like for a Girl starts 3 June, 9pm, BBC Three.
Daily Mail
6 days ago
- Entertainment
- Daily Mail
Barry Keoghan reveals he was so nervous meeting Ringo Starr that he couldn't look him in the eye - as he attends 'Beatles Bootcamp' to prepare for biopic role as the drummer
Barry Keoghan has revealed he was so nervous meeting Ringo Starr that he couldn't look him in the eye as he prepares to play him in the upcoming Beatles biopic. Gladiator II hunk Paul Mescal will play Paul McCartney, Harris Dickinson will play John Lennon, Barry will star as Ringo Starr and Joseph Quinn will play George Harrison in the films about The Fab Four. And to prepare for the role they have all been attending a 'Beatles Bootcamp' for the past 16 weeks, with Barry, 32, learning drumming and even meeting Ringo himself. Speaking at the Fastnet Film Festival in Ireland this week Barry said of the encounter with the icon, 84,: 'I sat opposite him and I could not look at him because I was nervous and his wife Barbara was there and she said, 'You can look at him.' 'Every time I looked at him I saw myself in his glasses. I said to him: 'I am not coming here to quiz you. I am coming to find out what made you and how the contrast was going back to Liverpool after Beatlemania.' From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the Daily Mail's new Showbiz newsletter to stay in the loop. 'We can all do imitation but I wanted to know where it came from. He was so on the money.' He also described his current Beatles Bootcamp as an 'absolute joy' where he has been practising the 'walk and accent' of Ringo. Barry explained: 'It's a place of failing, a place of learning and trying. That's the process I'm in now. It's a playground for me.' 'The drumming is going great. I've been doing it for like six, seven months. I've got blisters on my hands now.' In April director Sam Mendes revealed that all four films — called The Beatles: A Four-Film Cinematic Event — will come out in the same month, as he introduced his four leading stars. Each of the movies will focus on one of the members of the band. According to the director, Sony's film boss Tom Rothman dubbed the films 'the first binge-able theatrical experience'. 'We're not just making one film about the Beatles — we're making four,' Mendes announced. 'Perhaps this is a chance to understand them a little more deeply.' 'The Beatles changed my understanding of music,' Mendes added. 'I've been trying to make a movie about them for years.' 'I'm honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies,' the filmmaker shared back in 2024, as per People. The movies are being made by Sony Pictures and Sam's Neal Street Productions company. Mendes explained that he pitched the idea of making four films about the group last year and wowed Sony executives Rothman and Elizabeth Gabler with his plans. The Skyfall filmmaker told Deadline earlier this year: 'We went out to Los Angeles just before Christmas to pitch the project, and it's fair to say we were met with universal enthusiasm.' 'The reason Sony stood out from competing offers was down to Tom and Elizabeth's passion for the idea, and commitment to propelling these films theatrically in an innovative and exciting way.' Barry has risen to huge stardom in the last few years with roles in Saltburn and The Banshees of Inisherin. It comes after Barry revealed he is 'forever grateful' to his driver Niall for taking him to rehab during a time of struggle. The actor opened up about the special bond he shares with Niall, who got on a plane with him to make sure he got to a rehabilitation facility in England. Barry described his current Beatles Bootcamp as an 'absolute joy' where he has been practising the 'walk and accent' of Ringo Barry told Hollywood Authentic: 'Niall literally drove me and put me on a plane himself, came with me and brought me to the rehab in England. 'I went back to visit. It was nice to see the staff again, and for them to see the change in me. 'They were quite emotional about it. I'm forever grateful. When I say that Niall is the best, I mean it, because no one else put me on the plane, by the hand, literally got on the plane with me.' Barry also shared his family's experience with rehab, including his mother – who died from heroin addiction 20 years ago – and his brother, who has also been in treatment.
Yahoo
25-05-2025
- Entertainment
- Yahoo
Gay Kink, Godard (Via Linklater) and German Girlhood: THR's Critics Pick the 20 Best Films of Cannes 2025
COMPETITION Tarik Saleh follows The Nile Hilton Incident and Cairo Conspiracy with a darkly funny thriller about a famous actor forced to play Egyptian president Abdel Fattah el-Sisi in a biopic. Reteaming with star Fares Fares, who headlined the first two movies, Saleh tackles the dirty dealings between the regime and the film industry, showing how artists are co-opted — or rather coerced — into making propaganda in a country leaving them few other options. — JORDAN MINTZER More from The Hollywood Reporter 'Young Mothers' Review: The Dardenne Brothers Bring Clear-Sighted Observation and Empathy to a Tender Snapshot of Women at a Crossroads Cannes Power Outage Disrupts City, Festival Continues Inside IMG's Huge Sports Production Weekend: From English, U.S., Saudi Soccer to Basketball and F1 OUT OF COMPETITION Spike Lee reunites with Denzel Washington in this dazzlingly entertaining spin on Akira Kurosawa's 1963 kidnapping procedural, High and Low. The plot has been transposed to an environment Lee knows well — New York City, lushly captured — allowing the director to make the film his own, with wit, high style and kinetic energy to burn. The cast is top-to-toe excellent, with special honors to Washington and, in key roles, Jeffrey Wright and A$AP Rocky. — DAVID ROONEY COMPETITION Paul Mescal and Josh O'Connor offer more proof that they are among our best contemporary actors in Oliver Hermanus' tender account of a too-fleeting gay love affair interrupted by World War I. Adapted by Ben Shattuck from his short story, the film's romance blossoms from the intimate experience the two main characters share of traveling the backwoods of Maine in 1919, collecting traditional folk tunes from rural people. The director and his leads find quiet power in understatement. — D.R. COMPETITION Revolving around a group of ex-prisoners and the man they suspect of being their former torturer, Iranian auteur Jafar Panahi's intricately crafted drama examines the traumas suffered by political dissidents. The filmmaker puts aside the self-reflexive storytelling that has marked much of his work since he was first arrested in 2010, delivering a straightforward narrative that's plotted like a good thriller but builds into a stark condemnation of abusive power. — J.M. COMPETITION French cinema is littered with sexual coming-of-age films, but occasionally one comes along that cuts through the crowd with its confidence and texture, its erotic charge and lingering nostalgic ache. Hafsia Herzi's study of a Paris-area Muslim teen's lesbian awakening is such a film. Vibrantly felt yet impressively controlled — and blessed with a stone-cold stunner of a lead turn from newcomer Nadia Melliti — it's an instant queer classic, as moving in its humanism as it is sexy. — JON FROSCH COMPETITION Leave it to Kelly Reichardt to make a '70s movie that looks and feels like a lost '70s movie, from its scruffy visual aesthetic to its muted colors, its unhurried pacing to its unstinting investment in an underdog protagonist. Josh O'Connor is ideally cast as the out-of-work carpenter who pulls off a major art theft in a heist caper that spends as much time on the aftermath of the crime, when it morphs gracefully into another of the director's singular character studies of struggling Americans. — D.R. UN CERTAIN REGARD Akinola Davies Jr.'s feature debut — the first Nigerian film to premiere at Cannes — is a poignant meditation on the relationship between a man and his estranged sons, set over the course of a single day of Nigeria's 1993 presidential election. Considering how political unrest threatens not just the fragile optimism of a nation but also this family, the filmmaker employs a poetic visual grammar to envelop viewers in the memories of kids trying to understand their dad. — LOVIA GYARKYE COMPETITION Richard Linklater's charming homage, a behind-the-scenes peek at the making of Jean-Luc Godard's Breathless, is a far cry from Godard, stylistically. Yet it does an impressive job capturing the spirit of the man at work, showing what it took to put his groundbreaking movie together. With French newcomer Guillaume Marbeck as the iconoclastic auteur and Zoey Deutch as American leading lady Jean Seberg, the breezy film never takes itself too seriously while highlighting a very serious moment in film history. — J.M. COMPETITION Wes Anderson's latest won't have haters reconsidering, but it will entice those who've been feeling alienated to rejoin the ranks. The enchanting espionage comedy flaunts an excellent Benicio del Toro as a 1950s industrialist, who, after surviving an attempt on his life, names his estranged daughter Liesl (Mia Threapleton) as heir to his empire. With Michael Cera and Scarlett Johansson among the sprawling cast, the movie bears the auteur's trademark aesthetics but also a tenderness that sneaks up on you. — L.G. UN CERTAIN REGARD Abuse, cringe humor and unexpectedly sweet queer romance somehow coexist in Brit writer-director Harry Lighton's audacious and disarming first feature about the relationship between a stern biker (Alexander Skarsgard) and a shy suburban London traffic warden (Harry Melling). The film is less about the shock factor of some very graphic gay kink than the nuances of love, desire and mutual needs within a sub/dom relationship. Both actors are fearless. — D.R. UN CERTAIN REGARD Charlie Polinger's thrilling directorial debut observes boys at a summer water polo camp, with terrific newcomers Everett Blunck and Kayo Martin portraying opposite ends of the power spectrum and Joel Edgerton in a brief but effective turn as their coach. Working from his own screenplay, Polinger uses horror conventions to tease out the psychic terror and intimidation of preteen social codes. In the age of renewed questions about the manosphere, the movie feels sharply relevant. — L.G. DIRECTORS' FORTNIGHT Set in 1990s Iraq, Hasan Hadi's exceptional debut feature revolves around a third grader on a mission to complete a dreaded school assignment: baking a birthday cake for Saddam Hussein. With well-known American filmmakers among its producers (Eric Roth, Chris Columbus, Marielle Heller) and a cast of mostly untrained actors, the stirring, humor-laced drama is as perceptive as it is kinetic and, with one eye on the U.S. bombers overhead, brimming with life. — SHERI LINDEN COMPETITION Chie Hayakawa's delicately moving drama depicts a crucial summer in the life of 11-year-old Fuki (lovely newcomer Yui Suzuki) as she navigates her father's battle with cancer, her mother's stress and her own persistent loneliness. Set in suburban Tokyo in 1987, the film follows Fuki as she wanders the city and retreats into her imagination. Hayakawa calibrates her story to the volume of a whisper, as if in a conspiratorial conversation with her own memories. — L.G. COMPETITION Wagner Moura makes a stellar return to Brazilian cinema after several years away, playing a technology expert fleeing the country in 1977 while hitmen hired by a federal official pursue him in Kleber Mendonça Filho's masterful political thriller. Despite some brilliant comic flourishes, this is a deeply serious movie about a painful time in Brazil's past, when people disappeared and even far-flung cities where the dictatorship was invisible felt its long reach. It's a major achievement, sure to be one of the year's best films. — D.R. COMPETITION Renate Reinsve, Stellan Skarsgard, Inga Ibsdotter Lilleaas and Elle Fanning illuminate Joachim Trier's piercing reflection on family and memory, centered around a house in Oslo that has absorbed generations of experience. The director's observation of the mutable contracts between sisters, and even more so, fathers and daughters, is intensely affecting in a movie freighted with melancholy but also leavened by notes of surprising humor. With traces of Bergman but also Chekhov and Ibsen, the film explores the volatile power of art and the cost of making highly personal work. — D.R. COMPETITION French-born Spanish director Oliver Laxe's beguiling and beautiful fourth feature follows a father and son searching for a missing family member who join a group of itinerant ravers in the deserts of Morocco. The result is a techno-infused meditation on death, grief and possibility in a world edging toward collapse. The stunningly conjured location functions as both a repository for overwhelming feelings and a reminder of our own smallness in the grand scheme of things. — L.G. COMPETITION It's not every day you see a movie that resembles nothing you've seen before. German director Mascha Schilinski's bold second feature is just that: a transfixing chronicle in which the lives of four girls are fused into one long cinematic tone poem, hopping between different epochs without warning, painting a portrait of budding womanhood and rural strife through the ages. It's a work that reminds us how cinema can still reinvent itself, as long as there are directors audacious enough to try. — J.M. COMPETITION This impeccably directed, impressively acted Stalin-era drama from Ukrainian director Sergei Loznitsa follows a law school graduate who attempts to take on corruption in the Soviet system and winds up facing the consequences. It's a slow-burn story of political injustice filled to the brim with atmosphere — specifically the claustrophobia of the U.S.S.R. at the height of the Great Purge. Loznitsa is reflecting on the past here, but for anyone who cares to look, he's also holding a mirror up to the present. — J.M. UN CERTAIN REGARD Harris Dickinson's impressive first foray behind the camera follows an unhoused Londoner trying to get clean while stuck on a treadmill of addiction. Neither the writer-director — whose influences here include Mike Leigh, Ken Loach and Gus Van Sant — nor lead Frank Dillane, who acts with a nervy volatility offset by insouciant charm and humor, courts our sympathies, even as the film shows unquestionable compassion. — D.R. COMPETITION The latest from the two-time Palme d'Or-winning Dardenne brothers is their most surprising work in years. A tender and clearsighted ensemble piece, it provides unfiltered emotional access to the anxieties and hopes of five vulnerable working-class teenage women and the babies requiring their love and care, often when they can barely care for themselves. There's never a false note from the young actors, all of whom have deeply moving scenes. — D.R. A version of this story appeared in the May 21 issue of The Hollywood Reporter magazine. Click here to subscribe. Best of The Hollywood Reporter Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV
News.com.au
23-05-2025
- Entertainment
- News.com.au
Michael Jackson biopic delayed until 2026
Lionsgate Studios CEO Jon Feltheimer shared an update on the film that stars Jackson's nephew Jaafar Jackson in his big-screen debut. "In regard to our Michael Jackson biopic, we're excited about the three and a half hours of amazing footage from producer Graham King and director Antoine Fuqua, and we will be announcing a definitive release strategy and timing in the next few weeks,". "I would note that it is likely we will move Michael out of the fiscal year."
