‘Beetlejuice Beetlejuice’ opened huge at the US box office.
It made $ $145.4 million globally.
Elsewhere, the box office was quiet.
Audiences flocking to theaters to see Tim Burton and Michael Keaton’s return to the weird ‘Beetlejuice’ world they created in 1988 clearly invoked the ghost with the most, as the sequel ‘Beetlejuice Beetlejuice’ has wound up doing huge business at the box office.
The new movie launched in 4,575 theaters and rustled up a massive $110 million in its opening weekend.
And overseas, it debuted with $35.4 million, for a worldwide total of $145.4 million.
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How does ‘Beetlejuice Beetlejuice’ shape up in release terms?
‘Beetlejuice Beetlejuice’ has become the second-highest September opening –– and studio Warner Bros. will be happy, as it is slipping in between the two ‘It’ movies. The original, 2017’s ‘It’, earned $123 million, while sequel ‘It: Chapter 2’ took in $92 million.
It was the latest success story for a summer season that has seen some big hits but had been lagging some in the last couple of weeks as it closed out.
This sequel picks up the story of the Deetz family –– Winona Ryder as Lydia Deetz and Catherine O’Hara as step-mom Delia, with Jenna Ortega joining as Lydia’s daughter Astrid –– suffers more trouble from “bio-exorcist” Beetlejuice (Keaton), who still has designs on Lydia.
Though it was more of a small-scale release, the original “Beetlejuice” built across several weeks became one of the highest-grossing movies of 1988 with $74.7 million and later inspired a Tony-nominated Broadway musical, which is still touring the country.
The cult appeal of that first film clearly helped drive interest in the new one, despite it arriving 36 years later.
What else happened at the box office this weekend?
While Burton’s sequel was grabbing plenty of business, only one other movie was a new release, and nothing else in the charts did particularly well.
A24 put horror thriller ‘The Front Room’ into 2,095 theaters, but it launched at 10th place with $1,663,954.
‘Deadpool & Wolverine’ slipped back to second and earned $7.2 million. The superhero buddy comedy doesn’t have to worry too much, though, as that was from its seventh weekend in release, a miracle in itself given how short release windows tend to be these days.
Not forgetting the fact that it has now made $614 million domestically and $1.287 billion globally. It’s the second-biggest movie of the year and 23rd largest of all time.
Dennis Quaid-starring biopic ‘Reagan’ clung to third place, making $5.2 million, ahead of fellow holdovers ‘Alien: Romulus’ ($3.9 million) and ‘It Ends With Us,’ which took in $3.7 million.
Tim Burton directs a screenplay written by Alfred Gough & Miles Millar, and together the three bring us a true love letter to not only the original film but also to it’s fans. Scene by scene, frame by frame it is like watching the inner workings of Burton’s imagination come to life. The attention to detail of every moment was like watching a perfect Burton symphony play out on the screen and is undoubtedly why his work has become almost it’s own genre of magic. While some may find few scenes odd or misplaced, I found them to be in true Burton nature completely unexpected and fun.
While the initial trailer left most fans feeling more than unsure, the second gave us a much closer look at what you can expect from the film. If you haven’t seen either, the film follows three generations of the Deetz family as they return home to Winter River following an unexpected tragedy and loss. Still haunted by Beetlejuice (Michael Keaton), Lydia’s (Winona Ryder) life is turned upside down by her rebellious daughter, Astrid (Jenna Ortega), who’s discovered the model of the town in the attic and soon the portal to the afterlife is opened again. Not only does our favorite mischievous demon return but trouble starts brewing in both realms for more than one Deetz daughter.
We find Lydia still questioning wether the living and dead can co-exist only with a new partner in tow Rory (Justin Theroux) who lets just say makes some seriously questionable choices all while trying to convince Lydia he’s not only the best choice as her manager but her possible husband. Beetlejuice is no longer searching the ad section for new work but has never quite let go of the “love of his life” Lydia and still dreams of becoming her husband. But thanks to a bit of what one could only call an origin story moment, we are introduced to a serious supernatural force who well can’t be reckoned with, Delores (Monica Bellucci), who brings a whole knew meaning to the phrase “hell hath no fury like a woman scorned.”
Masterfully directed by Burton, the sequel 35 years in the making comes together with an ease and excitement that only a true Beetlejuice lover could have brought to life. His love for the characters both new and old shines through each performance and shows that he was asking all the same questions the fans were, what would two of the most iconic characters in film lives look like 35 years later? Burton didn’t just revisit these characters, with the help of great story telling he gave them more depth, love and quirk letting the spirit of the original shine through, something I believe only he could do with the gravitas a sequel of this caliber needed.
The film delivers on every aspect if you’re looking for the ‘Beetlejuice’ experience, which in essence is a zany ride full of outlandish characters and a story that has as much fun with knowing what moments are tongue in cheek while allowing there to be room for great storylines full of heart. There are no other films or characters that give a breathe of life into something the way that ‘Beetlejuice’ has. From the afterlife waiting room to the dining room table the original gave us something to remember forever and it’s sequel hits the same marks.
There is without a doubt not one weak link in terms of the cast for the entire film, well unless you count the shark bite victim in the waiting room, but we’ll let you decide on that one yourselves. Michael Keaton’s performance gave viewers an even better version of Beetlejuice, if that’s at all possible, with moments that will have you in tears from laughter and seeing a new side to the character that I found a little unexpected and absolutely heartwarming.
Keaton delivers in every way and gave fans that wow factor that made us all fall in love with Beetlejuice 35 years ago. Delia (Catherine O’Hara) and Lydia’s relationship has completely changed, now that Lydia is a parent herself, giving fans of the original even more depth to two already complex women who we never thought we’d ever see work together.
The relationship between Lydia and her daughter Astrid is like watching history repeat itself in the best way possible having Jenna Ortega bring the extreme sarcasm the world fell in love with from her roll of Wednesday. It allowed Ryder to show the audience a new sense of who Lydia has become and what parenting must be like when you can talk to ghosts.The characters of the afterlife are probably the most fun to watch, especially Bob and Jeff Shrinker who fans will adore.
Willem Dafoe’s character of Wolf Jackson, a cop who was an actor when he was alive who most likely did some very B list action movies, might be a little confused if you told him he wasn’t still the star of the show. Bellucci’s Delores is completely unforgettable as the most glamorous woman on a mission to do whatever it takes to get back her man, and her performance of her character becoming fully animated should be applauded.
The stand out performance for me hands down was that of Justin Theroux as Rory. Waiving every red flag possible, it was Rory’s world and everyone else was just living in it. He may not be the most complex man, but he took himself very seriously. Theroux’s ability to take a character so out of the wheelhouse from what fans have come to expect was a thrilling experience to watch. He gave a character who most of us would probably hate this undeniable spirit that was a welcomed addition to a cast of beloved characters. ,
If what you loved about the original was its quirky and campy, without feeling silly, look at the wild world of the afterlife and its crazy characters bleeding into daily life. Or even its slight gore within a story that’s told full of heart than ‘Beetlejuice, Beetlejuice’ will be as beloved to you as was the original. With stand out performances that will bring you to tears from laughter and unexpected moments full of choices you’d never expect, the film will take you on an enjoyable albeit an insane ride full of fun. It will also give you some very very Burton moments, checking boxes of all the things that make Tim Burton spectacular.
‘Beetlejuice Beetlejuice’ receives 9.5 out of 10 stars.
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What is the plot of ‘Beetlejuice Beetlejuice’?
36 years after the events of ‘Beetlejuice’, the Deetz family returns home to Winter River after Charles Deetz’s unexpected death. Lydia’s (Winona Ryder) life is turned upside down when her rebellious teenage daughter, Astrid (Jenna Ortega), discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened, releasing Betelgeuse (Michael Keaton).
Moviefone recently had the pleasure of sitting down in-person in New York with Monica Bellucci and Justin Theroux to talk about their work on ‘Beetlejuice Beetlejuice’, their first reaction to the screenplay, their new characters, working with Michael Keaton in his signature role, collaborating on the set with Tim Burton, and why they are excited for fans to finally see the film.
You can read the full interview below or click on the video player above to watch our interviews.
Moviefone: To begin with, Justin, what was your first reaction when you read the script?
Justin Theroux: I was blown away. You’re always sort of nervous when there’s such a beloved movie, and then you’re hearing that there’s a beloved sequel hopefully being made, or hopefully beloved. I had some conversations with Tim. He sent me the script. I read it, and I was like, “Oh, this is perfect. This is going to be good,” knowing what he’s done in the past.
MF: What can you tell us about your character and his role in the story?
JT: He is obviously the love interest to Lydia. He’s sort of a competing rival for affections with Beetlejuice, I guess. It’s sort of a love triangle. He’s just a shallow narcissist who has, I think, kind of hoodwinked Lydia initially into thinking that he’s a great guy, and he is not.
MF: Monica, what can you say about your character and the role she plays in the movie?
Monica Bellucci: Dolores is a creature. She’s a soul sucking demon in the afterlife. While Beetlejuice hunts everybody, she hunts him and she’s the bride of Beetlejuice. They had a short and intense love story that ended very badly in death. When she wakes up in the afterlife full of rage and desperation and obsessed with vengeance, she puts herself together. We’ll see how in a scene that is almost like a horror dancing scene. It took two or three days to film this moment, and I had to learn an entire choreography. I felt a bit like a mime because this role is very much about body language. So, I played like a broken doll, and it was so much fun, I have to say.
MF: What is it like being on a Tim Burton set and watching him execute his unique vision for this project?
MB: I mean, everything was already in his mind because he came to me and he said, “I have a key role in this film for which I thought about you.” So, I was very happy to accept it and to play it. Tim is so precise. He knows what he wants, and his creative energy is really inspiring for everybody. He loves to draw, so there are always drawings of situations and characters, and this is very helpful. Also, to go on these beautiful sets and to wear those amazing costumes by Colleen Atwood. Also, I had three hours of makeup every day, but I did this with pleasure and with passion. When I saw the movie, I was so shocked because, even though I knew everything, I knew the script, but the impact was so incredible because the film is unpredictable and so shocking and funny and full of emotion as well.
MF: Justin, what was your experience like working with Tim Burton?
JT: It’s a thrill when you have someone that’s as creative as him. He’s a genius, which is thrown around a lot for people and undeservedly. He genuinely is a genius. When you watch the way in which he, like a good conductor, just orchestrates all the instruments that are going into making a scene, and then obviously the film at large, it’s just so impressive. It’s sort of the shortest distance between the artist and the product, and I hate that word product, but the result. It’s whatever is on film is the shortest distance between his brain and the film, I guess is how I would say it.
MF: Monica, what are you most excited for fans to see in this new sequel?
MB: Oh, we can say that this new ‘Beetlejuice’, maybe it goes farther in visuals and maybe it’s a bit scarier.
MF: Justin, do you have a favorite moment in the movie that you are excited for fans to see?
JT: The movie. I mean, the movie itself I think is a home run. I think it’s a wonderfully executed film. Also, the filmmaking. I know that that sounds maybe obvious, but I think the filmmaking is so good. There are these big swings that Tim took that you do not find in many big studio movies that show a real level of artistry that’s on another tier. But I’m excited for people to see the ending. I think it’s such a poignant and touching ending, which you could take in so many ways and goes in so many different directions and is just so touching. The fourth wall gets broken a little bit where you go, “Is this Tim telling us something? Or is this his take on life? What is he saying?” I’ve only seen the film once, and I look forward to seeing it again so I can break that scene apart again in my head.
MF: Finally, Justin, what was it like working with Michael Keaton in his signature role as Beetlejuice and did you feel any pressure working with members of the original cast?
JT: I adored that (original) movie. I’ve known Winona for a bit, and I’m an enormous fan of Catherine O’Hara and Willem (Dafoe) and all the rest. I think Michael was the one that I was most intimidated to work with because he has some of the heaviest lifting to do just as far as energy and speed. So, it’s a fine line between playing in a scene with him and just wanting to get out of the way. So, my instinct a lot of times was like, “Just get out of the way. Let him do his thing.” But then you also must participate in it as well. It was great though. He was such a joy to work with.
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What is the plot of ‘Beetlejuice Beetlejuice’?
36 years after the events of ‘Beetlejuice’, the Deetz family returns home to Winter River after Charles Deetz’s unexpected death. Lydia’s (Winona Ryder) life is turned upside down when her rebellious teenage daughter, Astrid (Jenna Ortega), discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened, releasing Betelgeuse (Michael Keaton).
(Left) Tim Burton attends the world premiere of Netflix’s ‘Wednesday’ on November 16, 2022 in Los Angeles, California. Photo by Jerod Harris/Getty Images for Netflix. (Right) 1958’s ‘Attack of the 50 Foot Woman.’ Photo: Allied Artists Pictures Corporation.
Preview:
Tim Burton is making a deal to direct a new ‘Attack of the 50 Foot Woman’.
‘Gone Girl’s Gillian Flynn will write the script.
Warner Bros. is backing the new movie.
Now that he has finally wrapped shooting his ‘Beetlejuice’ sequel –– which Warner Bros. has recently revealed is titled ‘Beetlejuice Beetlejuice’–– Tim Burton can split his time between getting that movie finished and his duties on the second season of ‘Wednesday’.
But if the studio has its way, he’ll also be figuring out development on another movie project, as Deadline reports that the filmmaker is attached to direct a new take on 1950s sci-fi ‘Attack of the 50 Foot Woman’.
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What’s the story of ‘Attack of the 50ft Woman’?
Allison Hayes in 1958’s ‘Attack of the 50 Foot Woman.’ Photo: Allied Artists Pictures Corporation.
The 1958 original, written by Mark Hanna and directed by Nathan Hertz, is considered more a pulpy cult classic than a truly great movie (though it does boast one of the most iconic posters of all time).
Allison Hayes stars as Nancy Archer, a wealthy but extremely troubled socialite whose problems include mental health issues, a history with drink and a philandering husband (Harry, played by William Hudson) who would rather spend time with his latest girlfriend than help his wife.
One night, Nancy has an encounter with a strange alien craft and its giant occupant, and the incident leaves her growing to enormous size. Using her newfound stature, she seeks revenge on her cheating other half.
Most impressively, the movie was made for $88,000. We’d guess a new take would have a significantly higher budget.
While the story certainly sounds like something that Burton could get a lot out of (after all, retro imagery is often a part of his movies, and he even turned a set of trading cards into campy sci-fi movie ‘Mars Attacks!’), he’ll need a script.
Fortunately, one is underway from ‘Gone Girl’ writer Gillian Flynn, who feels like the right person to tackle a conflicted woman’s story.
Flynn’s work has been adapted several times, including into HBO TV series ‘Sharp Objects’ and movie take on ‘Dark Places’, which starred Charlize Theron, but largely flew under the radar.
She’s currently also working on a new small screen version of ‘Dark Places’ for HBO/Max, so Flynn is certainly busy right now. Outside of adaptations of her work, she wrote crime thriller ‘Widows’ for director Steve McQueen and developed an American version of British TV series ‘Utopia’.
When is Burton’s ‘Beetlejuice’ sequel arriving in theaters?
‘Beetlejuice Beetlejuice’ will be hitting screens on September 6th this year, taking advantage of the Labor Day weekend.
Tim Burton attends the world premiere of Netflix’s ‘Wednesday’ on November 16, 2022 in Los Angeles, California. Photo by Charley Gallay/Getty Images for Netflix.
Christopher Landon attends Netflix’s ‘We Have A Ghost’ Premiere on February 22, 2023 in Los Angeles, California. Photo by Charley Gallay/Getty Images for Netflix.
Preview:
Director Christopher Landon announced via social media that he’s left the new ‘Scream’ Movie.
The move follows the firing of Melissa Barrera and the departure of co-star Jenna Ortega.
‘Scream VII’ is currently not dated for release.
‘Scream VII’ is starting to feel like a victim of its own iconic Ghostface killer, hunted down by the forces of bad luck and bad karma. The latest strike is the departure of director Christopher Landon, who follows stars Melissa Barrera and Jenna Ortega away from the movie (the actors departed for different reasons, more on that below).
Christopher Landon attends Netflix’s ‘We Have A Ghost’ Premiere on February 22, 2023 in Los Angeles, California. Photo by Charley Gallay/Getty Images for Netflix.
Landon, in a twitter post, explained his moving on and the reasons for it:
“I guess now is as good a time as any to announce I formally exited ‘Scream 7’ weeks ago. This will disappoint some and delight others. It was a dream job that turned into a nightmare. And my heart did break for everyone involved. Everyone. But it’s time to move on. I have nothing more to add to the conversation other than I hope Wes’ legacy thrives and lifts above the din of a divided world. What he and Kevin created is something amazing and I was honored to have even the briefest moment basking in their glow.”
Why is Jenna Ortega not returning for the seventh ‘Scream’ movie?
Jenna Ortega attends the world premiere of Netflix’s ‘Wednesday’ on November 16, 2022 in Los Angeles, California. Photo by Presley Ann/Getty Images for Netflix.
Officially, the story, according to Deadline is one of scheduling issues brought about because of the actors’ strike –– Ortega has a few days’ work left to complete ‘Beetlejuice 2’ and will spend a chunk of next year filming the second season of hit Netflix series ‘Wednesday’ in Ireland.
With ‘Scream’ looking to get the movie going ahead now the strikes are over, it appeared she simply won’t have time to make both projects.
We’re still not certain why Spyglass (and studio Paramount) couldn’t simply hit pause until Ortega had space in her schedule, but of course the franchise needs to rumble on.
Yet the timing is also intriguing given the other big ‘Scream’ wrinkle…
What happened with Melissa Barrera and ‘Scream’?
(L to R) Melissa Barrera (Sam Carpenter) and Jenna Ortega (Tara Carpenter) stars in Paramount Pictures and Spyglass Media Group’s ‘Scream VI.’
Why are we a little suspicious of the timing? The Ortega news arrives one day after her co-star Melissa Barrera was dropped from the franchise for social media posts supporting Palestine in the tragic, ongoing war between Israel and Hamas.
While calling for a cease fire in the conflict might not seem all that controversial, some of the reposts on Barrera’s Instagram account have edged over into potentially troubling opinions on Jews.
‘Scream’ production company Spyglass issued a statement on the situation:
“Spyglass’ stance is unequivocally clear: We have zero tolerance for antisemitism or the incitement of hate in any form, including false references to genocide, ethnic cleansing, Holocaust distortion or anything that flagrantly crosses the line into hate speech.”
When will ‘Scream VII’ be released?
With no director and a likely need for big re-writes to accommodate a casting change, ‘Scream VII’ is on pause for now and has no set release date.
Ghostface in Paramount Pictures and Spyglass Media Group’s ‘Scream VI.’
Jenna Ortega attends the world premiere of Netflix’s ‘Wednesday’ on November 16, 2022 in Los Angeles, California. Photo by Presley Ann/Getty Images for Netflix.
Preview:
Jenna Ortega is no longer appearing in ‘Scream VII’.
She reportedly has a schedule clash with filming ‘Wednesday’ Season 2.
The news comes just as co-star Melissa Barrera is dropped from the film over controversial social media posts.
The ‘Scream’ franchise has been hit with a one-two punch of its main stars departing.
Today brings word that Jenna Ortega, who has played Tara Carpenter for the most recent two entries (directed by Matt Bettinelli-Olpin and Tyler Gillett), will not return for the seventh installment.
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Why is Jenna Ortega not returning for the seventh ‘Scream’ movie?
Officially, the story, according to Deadline is one of scheduling issues brought about because of the actors’ strike –– Ortega has a few days’ work left to complete ‘Beetlejuice 2’ and will spend a chunk of next year filming the second season of hit Netflix series ‘Wednesday’ in Ireland.
We’re still not certain why Spyglass (and studio Paramount) couldn’t simply hit pause until Ortega had space in her schedule, but of course the franchise needs to rumble on.
Yet the timing is also intriguing given the other big ‘Scream’ wrinkle…
What happened with Melissa Barrera and ‘Scream’?
(L to R) Melissa Barrera (Sam Carpenter) and Jenna Ortega (Tara Carpenter) stars in Paramount Pictures and Spyglass Media Group’s ‘Scream VI.’
Why are we a little suspicious of the timing? The Ortega news arrives one day after her co-star Melissa Barrera was dropped from the franchise for controversial social media posts.
‘Scream’ production company Spyglass issued a statement on the situation:
“Spyglass’ stance is unequivocally clear: We have zero tolerance for antisemitism or the incitement of hate in any form, including false references to genocide, ethnic cleansing, Holocaust distortion or anything that flagrantly crosses the line into hate speech.”
And Landon put his own statement on Twitter, but then deleted it:
“This is my statement: 💔 Everything sucks. Stop yelling. This was not my decision to make.”
Obviously losing its two main stars (Ortega in particular had been a big draw for the last couple of movies) is a huge issue for the ‘Scream’ series, and it’ll mean some serious reconsideration in creative terms.
There are certainly paths forward, including a movie that returns the focus to the surviving veteran cast, including Courteney Cox (and potentially backing a dump truck full of money to Neve Campbell’s house to try and tempt her back after she skipped the most recent film) or going the reboot route completely with a fresh cast trying survive Ghostface’s stalk-and-slash machinations.
As of now, the new ‘Scream’ is not far enough along to lock down a release date. Especially given that it’ll need a giant re-write…
(L to R) Melissa Barrera (Sam Carpenter), Jenna Ortega (Tara Carpenter), Jasmin Savoy Brown (Mindy Meeks-Martin) and Mason Gooding (Chad Meeks-Martin) star in Paramount Pictures and Spyglass Media Group’s ‘Scream VI.’
SAG-AFTRA members walk the line in Northhampton on 9/21. Photo courtesy of SAG.
Preview
The latest talks between the striking actors’ union and the studio representatives have ended without much progress.
The actors are seeking a similar new deal to what the writers recently secured, albeit with their own extra points.
Studio representative body the AMPTP claims that the gap between the parties is “too great” right now.
Just when it looked like there was hope for an end to the actors’ strike following the resolution of the writers’ industrial action (the new contract for writers was officially ratified by 99% of the WGA membership on Monday), some cold water was thrown by news yesterday that performers’ union SAG-AFTRA and the Alliance of Motion Picture and Television Producers that represents studios were “too far apart” on talks for their own deal.
The actors have now been officially on strike since July 14th, essentially bringing Hollywood production in the States and elsewhere in the world to a standstill with the impact felt in shut down movies, delayed release dates and a shaken-up TV schedule, networks filling fall slots with reality shows and series that had already been in production.
And, as has been the case throughout the strike, the two sides are waging a war of words to present their side of negotiations.
SAG-AFTRA members Nia Vardalos and Octavia Spencer walk the line at Disney Studios in Burbank, CA on 9/20. Photo courtesy of SAG.
Here’s what SAG-AFTRA’s leadership told members in its latest release:
“We have negotiated with them in good faith, despite the fact that last week they presented an offer that was, shockingly, worth less than they proposed before the strike began. These companies refuse to protect performers from being replaced by AI, they refuse to increase your wages to keep up with inflation, and they refuse to share a tiny portion of the immense revenue YOUR work generates for them. The companies are using the same failed strategy they tried to inflict on the WGA –– putting out misleading information in an attempt to fool our members into abandoning our solidarity and putting pressure on our negotiators. But, just like the writers, our members are smarter than that and will not be fooled.”
The actors’ union has been pushing for various new deal points, including protection against the use of AI to replace some performers and an 11% increase in minimum payments (by comparison, both the Directors Guild and the writers secured 5).
AMPTP put out its own statement on the talks
WGA + SAG-AFTRA members walk the line at Paramount on Sept. 20. Photo courtesy of SAG-AFTRA.
The alliance offered its usual publicity blast to explain its side of the matter:
“SAG-AFTRA’s current offer included what it characterized as a viewership bonus that, by itself, would cost more than $800 million per year – which would create an untenable economic burden. SAG-AFTRA presented few, if any, moves on the numerous remaining open items. After meaningful conversations, it is clear that the gap between the AMPTP and SAG-AFTRA is too great, and conversations are no longer moving us in a productive direction.”
We would expect this back-and-forth to continue for some time, with little forward movement (and it feels like the studios are once more the main sticking point). So, if you were hoping that your favorite show or that movie you were anticipating would be back on the schedule soon, we’d say patience is a virtue.
(Left) Ryan Reynolds and Hugh Jackman discuss Marvel Studios’ ‘Deadpool 3.’ Photo courtesy of Ryan Reynolds YouTube channel. (Right) Ryan Reynolds as Deadpool and Hugh Jackman as Wolverine in ‘Deadpool 3.’ Photo courtesy of Ryan Reynolds Instagram account.
Preview
‘Deadpool 3’ is among the big movies that studios will want to prioritize shooting once the ongoing actors’ strike is resolved.
Director Shawn Levy has talked about how far along ‘Deadpool 3’ was in its shoot.
Other movies likely to be prioritized include ‘Beetlejuice 2’, ‘Mission: Impossible –– Dead Reckoning Part 2’ and ‘Captain America: Brave New World’.
With news arriving yesterday that the members of the Writers Guild of America have officially ratified their new contract with the studios, one of the major strikes impacting Hollywood’s production process has come to an end.
All eyes are naturally now on the industrial action by SAG-AFTRA members, with the actors looking to score their own new deal with the companies. Negotiations on that one are still ongoing (the next round is scheduled for tomorrow, Wednesday October 11th) and there is no sign of an agreement in place yet, even if the writers’ deal means a clearer pathway to one.
But what happens when a deal is finally sealed, and actors are available to work again? The dam breaks on all the various productions that have been paused and studios must decide which movies in particular to prioritize.
For Disney, one of the bigger projects to gear back up as a priority is ‘Deadpool 3,’ featuring the return of Ryan Reynolds’ Wade Wilson, the “Merc with a Mouth”.
This latest entry in the superhero franchise features Hugh Jackman appearing as Wolverine for the first time, which naturally makes it an exciting one for fans.
Director Shawn Levy has been making the movie and reported that he was roughly halfway through the shoot when the strike shut it down.
“That would have been smarter than I am. That would have been so savvy. But I guess, like others in our industry, I somehow thought this second strike would be averted. Then suddenly, it was upon us, and I had to send several hundred people home, and they’re still waiting to come back to work. So, I’m just really — I don’t use this word lightly — I’m yearning for a resolution that feels fair and equitable and gets this industry back to work.”
With Disney and Marvel currently sticking to their May 3rd, 2024, release date, the pressure will naturally be on to complete the film. But if the actors’ strike goes on beyond the next few weeks, expect that to change.
What other movies will be priorities?
(L to R) Hayley Atwell and Tom Cruise in ‘Mission: Impossible Dead Reckoning – Part One’ from Paramount Pictures and Skydance.
According to a new report from The Wrap, there are a variety of big films that were already in progress which will gear back up once the strike ends.
Ariel (Halle Bailey), the youngest daughter of the kingdom Atlantica’s ruler King Triton (Javier Bardem), is fascinated with the human world but mermaids are forbidden to explore it. After saving Prince Eric (Jonah Hauer-King) from a shipwreck and falling in love with him, she becomes determined to be with him in the world above water. These actions lead to a confrontation with her father and an encounter with the conniving sea witch Ursula (Melissa McCarthy), making a deal with her to trade her beautiful voice for human legs so she can discover the world above water and impress Eric. However, this ultimately places her life (and her father’s crown) in jeopardy.
Costume designer Colleen Atwood at “The Little Mermaid Enchanted Celebration” on September 15th. Photo credit: Dan Steinberg for Walt Disney Studios.
Moviefone recently had the pleasure of speaking with four-time Oscar-winning costume designer Colleen Atwood (‘Chicago,’ ‘Alice in Wonderland‘) about her work on ‘The Little Mermaid,’ her process, her longstanding working relationship with director Rob Marshall, designing the look of the mermaids, working closely with the VFX department, taking cultural inspirations for the costumes, and revisiting the animated classic, as well as a tease of the costumes she created for Tim Burton’s upcoming sequel, ‘Beetlejuice 2.’
Costume designer Colleen Atwood at “The Little Mermaid Enchanted Celebration” on September 15th. Photo credit: Dan Steinberg for Walt Disney Studios.
You can read the full interview below or click on the video player above to watch our interview.
Moviefone: To begin with, can you take us behind the scenes and explain your process as a costume designer? When you come on to a project and read the script for the first time, where do you go from there?
Colleen Atwood: Well, I read the script and I talk to the director, in this case, Rob, and we talk about what he’s seeing for the movie. In this case, because the people that were building the environment, the art department had started quite a bit before me because of the time it takes to do all that. So I met with him in LA, and we met where the art department was beginning to build the world. So we met there, and he walked me through that. Then we talked about colors and ideas, and I told him I liked the ideas of Seven Sisters from the Seventh Seas, each one having a different fish for their character. As well as all my ideas of what I was thinking with King Triton, and we just kind of walk through it. But not the entire cast at that point in history is always in place at the beginning. But we knew it was Halle Bailey, and Rob knew who he wanted for the other parts, but they weren’t in place yet. So I started with her. I started figuring out the different worlds along with the costumes, not just for the main characters, but how the costumes at the castle looked, what the reflection of the costumes in the village is, so I had an overview of the whole movie. Then as I got characters, I could dial them into it, which is a good way to work, because you know where you’re going with it, in a less kind of random matter. Rob comes from theater, so that process of preparation is something he really understands, which is so advantageous to costume.
MF: You’ve worked with director Rob Marshall before, did that make the process of working on ‘The Little Mermaid’ a little easier because you have a shorthand with him and understand his tastes and what he might want?
CA: Yeah, there’s a lot of trust there between us. It’s fun always when you work with somebody to self-challenge, because you kind of know what they’re going to be like, and then you try to find something that you haven’t kind of plugged into before that could work too. So it’s kind of a parallel blessing, but it really is a good way to push yourself to another level as a designer, because you can get comfortable, but you want to be better. So that was kind of my challenge with him.
MF: Can you talk about the look of the mermaids and designing their costumes?
CA: Well, the actual costumes themselves, as far as the undersea costumes, were virtual. So I sat with a computer artist and designed them. I did tails that were the right scale so they had reference, and I made fabrics that looked like fish scales to get the colors and the textures right. But I really sat with one guy, and he and I did it together because I don’t have the skills to do digital design. But it was a whole other world for me. Then as we got real people into the facsimiles of the costumes, because we did bits, we realized things that were challenges, like we didn’t really want to do seashell bras on real people, because it always looks kind of hanky. So we ended up figuring it out, but making the transition between skin and scale was a big deal because it can look not beautiful, so you didn’t want them to be that, you want them to be beautiful. So we came up with the little fin things that kind of transition in between to separate it, and then kind of a glow on the skin that might be a scale, but you don’t really see scales all over the body. When you do digital design with a lot of dudes, they go in the creature direction real quick. So we got some really interesting first passes on stuff, but we really dialed all that down. I really wanted to keep also the idea of sisters in mind, but they were all within a younger, more youthful point of view in how they looked and what their body shapes were and all that.
MF: You’ve been a costume designer for almost 40 years and the industry has changed a lot over that time, particularly with technology and the way movies are made. Can you talk about how your approach to costuming has changed due to technology? Have you ever worked this closely with the VFX department on a project before?
CA: Well, I worked with VFX fairly closely on the ‘Alice in Wonderland’ movies because they were really early days, and we had a lot of challenges. In that case, I ended up making the real costumes because they were above ground, and then making them do different things to make the head look bigger and the body smaller and things like that. So that technology has evolved in a really different way. I did the ‘Fantastic Beast’ movies, which had a lot of that in it. So I’ve been paralleling the visual effects evolution since ‘Mars Attacks!’ It’s been a long time. So I’ve been parallel learning that as I go along, and learning the tricks to make it better for costume. That’s been a really fun challenge, and it’s pretty amazing, the stuff they’ve done to make fabrics look better, because it used to be really flat, and now it has more dimension. But I made actual fish scale fabric for them to reference so I could control how that would manifest itself digitally. There’s certain shadings and surface treatments and things like that that can make it look better. I think because I have done it before and seen it, that I’ve learned a lot, and it’s a learning curve. It really is.
CA: Can you talk about the cultural inspirations you used to create the costumes for the human world?
CA: Well, it was interesting in a very tricky area. I really took the reference of the time period of the castle. The time period of the castle was set in a sort of early 1800s vaguely, but no nail down date, so I sort of plugged in to 1830-1840 when people started coming to the Caribbean that weren’t from there, to settle and build so-called castles. But the big influence for me was the shapes that came from that period, but the materials came more from the land in which we were inhabiting, which wasn’t necessarily the case in real history at all. So I departed history very quickly, because I wanted the colors to be reflective of the ocean and the environment. So the castle, for me, was like dried coral and different corals with the faded colors and the textures of corals. So I kind of used the materials of the ocean to influence the costumes in their design. The men’s costumes there, I made all out of pale textured linen. In that period, they didn’t make clothes out of that stuff. So it was really fun to make the shapes of a period but in different materials, and create your own magical world in that way that people could kind of connect with. Then the village had a really festive, under the sea kind of coral flowing colors, and that kind of life in contrast to the elitist coral castle. So that kind of was how I pulled it together.
MF: Were you a fan of the original ‘The Little Mermaid,’ and did you use the animated movie as a reference for the costumes and look of the film?
CA: I was a fan, but not like my kids were fans. I was a little bit of an older person. I wouldn’t have a ‘Little Mermaid’ wedding. But Rob’s take on things, it’s always like a different journey with him. He totally changes everything up so well. But we did want to pay homage to the known entity of a character as beloved as ‘The Little Mermaid.’ So you don’t think, “Oh, I’m going to not do ‘The Little Mermaid.’ Why do that? It’s done.” Instead, we just embraced the colors, the energy of her, the red hair, the colors of the tail the lilac bought us and all that, but reinvented it in a way that was more human, more today and kind of youthful. In doing that with the reference of all the different fishes from the seas, I was kind of playing with the culture within the fish costumes, which was limited, you could only do a certain amount because of what they were, but you could definitely give a spontaneity in the placement of where the fins were, which could kind of relate to a samba skirt, or a kimono, or whatever that was. The Indian mermaid had a one shouldered one, and the Thai mermaid had a little bit of an Asian design to her costume. So it all was sort of related, but not in a big obvious way.
Michael Keaton as Betelgeuse in 1988’s ‘Beetlejuice.’
MF: Finally, I understand that you were working on ‘Beetlejuice 2’ with Tim Burton before the strikes shutdown production. Can you give us a little tease of the costumes fans can expect to see when that movie is eventually released?
CA: Well, as always, you can’t get away from the homage to the original. So there’s that, but there’s a whole next level and layer of fun costumes that are totally not tech costumes, but real, and all the things that go with that. Low tech as opposed to high-tech. So I think It’s going to be really fun for people to see. The art’s in the movie. Tim’s an artist first and foremost, and that art is really present in this ‘Beetlejuice.’ I think people are going to love it.
‘The Little Mermaid’ is available on Digital now, and will be available on 4K, Blu-ray and DVD September 19th.
‘The Little Mermaid’ is produced by Walt Disney Pictures, Lucamar Productions, and Marc Platt Productions. It is set to release in theaters on May 26th, 2023.
(Left) Tim Burton attends the world premiere of Netflix’s ‘Wednesday’ on November 16, 2022 in Los Angeles, California. Photo by Charley Gallay/Getty Images for Netflix. (Right) Nicolas Cage in ‘The Flash.’ Photo: Warner Bros.
In that talk about ‘Beetlejuice’, he also covered the use of AI to create Burton-esque versions of Disney characters. He’s not, as you might suspect, a fan. And he referenced the technology again in an interview with the British Film Institute that touched on one of his great unmade movies, ‘Superman Lives’
Nicolas Cage as Superman in the documentary ‘The Death of “Superman Lives”: What Happened?’
In 1998, Burton was getting ready to shoot a new version of Superman called ‘Superman Lives’ with Nicolas Cage as the Man of Steel. The director had spent two years in extensive pre-production and had gotten to the point of shooting tests of Cage in character in his suit (images of which didn’t officially emerge until 2009) when studio Warner Bros. pulled the plug on the movie due to creative differences.
“Tim Burton is a genius. He’s a great artist, and I’m sure he would have done something really magnificent with the story of Superman, and I knew I was going to go towards something quite unique and different than anything you’ve seen with Superman, but having said that, in a way it was a win-win for me that it didn’t work out, because the power of the imagination allows you to imagine what that might have been like. That might be even more powerful than the finished product, so I think it worked out.”
And for Burton, he has no regrets about the failed project, as he revealed in the BFI piece:
“I will say this: when you work that long on a project and it doesn’t happen, it affects you for the rest of your life. Because you get passionate about things, and each thing is an unknown journey, and it wasn’t there yet. But it’s one of those experiences that never leaves you, a little bit.”
That said, he’s not pleased that a version of Cage’s Superman –– played by the actor himself –– showed up in ‘The Flash’s big, climactic parallel worlds-collide scene.
Burton on the use of Cage’s Superman in ‘The Flash’
The big scene, which used a mo-capped Cage briefly shown, also has CG versions of classic Superman and Flash characters, such as Christopher Reeves’ Supes and Helen Slater as Supergirl, forms part of a moment where the boundaries between realities start breaking down when Ezra Miller’s Barry Allen tries to change the space-time continuum.
You get the feeling Burton would want to wind time back and stop the decision to have Cage appear…
“This is why I think I’m over it with the studio. They can take what you did, ‘Batman‘ or whatever, and culturally misappropriate it, or whatever you want to call it. Even though you’re a slave of Disney or Warner Brothers, they can do whatever they want. So, in my latter years of life, I’m in quiet revolt against all this.”
Still: ‘Beetlejuice 2’, coming next year from (checks notes) Warner Bros. And then there’s ‘Wednesday’ Season 2, from (checks other notes) Netflix.
