Tag: garry-marshall

  • Penny Marshall, ‘Laverne & Shirley’ Star and ‘A League of Their Own’ Director, Dies at 75

    Penny Marshall, ‘Laverne & Shirley’ Star and ‘A League of Their Own’ Director, Dies at 75

    ABC

    Penny Marshall, a comedic actress turned successful director known for iconic projects including “Laverne & Shirley,” “Big,” and “A League of Their Own,” has died. She was 75.

    Marshall’s publicist, Michelle Bega, confirmed the star’s death on Tuesday, telling the New York Daily News that Marshall passed away “peacefully” at her home in Hollywood on Monday night, from complications from diabetes.

    The star’s family also released a statement about her passing, referencing the famous monogrammed wardrobe she sported as her “Laverne & Shirley” character, Laverne De Fazio.

    “Penny was a girl from the Bronx, who came out West, put a cursive ‘L’ on her sweater and transformed herself into a Hollywood success story,” the statement said.

    Marshall was the younger sister of the late writer-director-producer Garry Marshall, and it was her brother’s influence that helped her land her most famous role. Garry cast Penny and Cindy Williams as Laverne and Shirley on his wildly popular sitcom, “Happy Days,” and the pair later got their own eponymous spinoff series. “Laverne & Shirley” ran for eight seasons on ABC, from 1976 to 1983, and gave Penny Marshall the directing bug, with the actress helming several episodes of the sitcom.

    Her first feature directing gig came in 1986, on the Whoopi Goldberg comedy “Jumpin’ Jack Flash,” and Marshall’s success snowballed from there. She went on to helm many more films, including the Tom Hanks classic “Big,” which became the first female-directed film to gross $100 million domestically. Later, she reunited with Hanks for the groundbreaking All-American Girls Professional Baseball League comedy “A League of Their Own,” and also directed the Robert De Niro-Robin Williams drama “Awakenings,” which received a Best Picture nomination.

    Marshall also starred in classic sitcoms including “That Girl,” “The Odd Couple,” “The Mary Tyler Moore Show,” and “The Bob Newhart Show,” and had minor roles in films including Steven Spielberg’s “1941” and “Get Shorty.” Her most recent acting gigs included guest starring spots on “Portlandia” and the remake of “The Odd Couple,” and her latest directing work included helming episodes of Showtime series “United States of Tara.”

    Marshall was previously married to actor-director Rob Reiner for 10 years. She’s survived by her daughter, Tracy (who starred as Betty Spaghetti in “A League of Their Own”); her sister, casting director and producer Ronny Harlin; and three grandchildren. Her family is planning a “celebration of life” at a later date.

    [via: New York Daily News, The Hollywood Reporter]

  • ‘Pretty Woman’ Musical Heading to Broadway

    “Pretty Woman” walkin’ down the street … the street called Broadway!

    A musical adaptation of the classic 1990 romantic comedy is coming to Broadway in fall 2018. The movie’s screenwriter J.F. Lawton will write the book. Singer Bryan Adams and songwriting partner Jim Vallance will contribute music and lyrics.

    The show will star Samantha Banks (“Les Miserables”) as prostitute Vivian, the role that turned Julia Roberts into a star. Steve Kazee, who won a Tony for “Once,” will play Richard Gere’s role as the cynical, rich corporate raider, who ends up falling for his escort.

    Jerry Mitchell of “KInky Boots” will direct. In a statement, he said, “From the first time I saw this magical movie I felt it cried out to be a musical. ‘Pretty Woman’ is a classic story with a very contemporary message. I think we all want to fall deeply in love with someone — it is something you never stop hoping for.”

    “Pretty Woman: The Musical” will premiere in Chicago in spring 2018 before moving to Broadway.

  • ‘Overboard’ Is an ’80s Lover’s Dream and a Legal Nightmare: Podcast

    Goldie Hawn, Kurt Russell in OVERBOARD (1987)A man, driven by revenge, kidnaps the woman who wronged him. Suffering from amnesia, the woman is tricked into thinking she is his wife and forced to clean, cook, and raise his four children … until she starts to suspect that things are not as they seem. Sound like a great ’90s thriller? Well, it’s not. It’s the plot of “Overboard,” Garry Marshall‘s 1987 comedy starring Goldie Hawn (“Snatched”), Kurt Russell (“Guardians of the Galaxy Vol. 2”), Edward Hermann (“Gilmore Girls”), and Katherine Helmond (“Who’s the Boss?”). Hilarious!

    This week, Team CAN’T WAIT! discusses the ’80s exploration of false imprisonment, fraud, and the high jinks that ensue when you trick a mind-wiped heiress into thinking she’s poor, married to you, and the mother of your four horrible children. Topics discussed include: the legal consequences (or lack thereof) of the basic plot points of “Overboard,” the majesty (and secrets) of Tillamook County (this is not a sponsored podcast!), successful nepotism, the magic of watching Goldie Hawn, and what it sounds like when a soundtrack is composed on a Casio keyboard (sorry, Alan Silvestri). It’s quite a ride.

    Tune in next time for Phil’s pick, 1992’s “The Bodyguard,” a mediocre movie that birthed the best-selling soundtrack of all time.

    Listen to CAN’T WAIT! A Movie Lover’s Podcast Episode 21: ‘Overboard’Total runtime: 52:32

    Subscribe to the CAN’T WAIT! podcast:

    Have thoughts/feelings/feedback about the podcast? Have a movie you really, really want us to watch and talk about? Hit us up on Facebook, Twitter, or Instagram with the hashtag #CANTWAIT.

    CAN’T WAIT! A Movie Lover’s Podcast by Moviefone celebrates Hollywood’s guiltiest pleasures by taking a fresh look at critically ignored movies and giving them a second chance at life. Join Moviefone editors Tim Hayne, Rachel Horner, Phil Pirrello, and Tony Maccio as they extol the virtues and expose the failings (with love!) of nostalgic movies.

  • Yvette Nicole Brown: Super Star and Super Fan

    Variety's Celebratory Brunch Event For Awards Nominees Benefitting Motion Picture Television Fund - ArrivalsYvette Nicole Brown may be living her best life. All she just needs is some more quality time with Oprah.

    For the self-admitted super-enthusiast of all things entertainment, Brown’s got just about all her bases covered: she’s a prominent network TV actress (see the insta-classic sitcom “Community” and the current incarnation of “The Odd Couple”); she’s turned her addiction to “The Walking Dead” into regular guest spots on the aftershow “Talking Dead”; she put her red carpet reporter hat on to host the Hollywood Foreign Press Association official live stream of the SuperMansion” to her flourishing voice actress career — which includes stints as Beyoncé on “Bojack Horseman” and Amanda Waller on “DC’s Super Hero Girls.”

    She’s the ultimate fusion of star and fan, as she reveals in a wide-ranging conversation with Moviefone that includes her thoughts on her ongoing projects, her take on the current season of “TWD,” her outspoken Twitter account, the long-apparent genius of Donald Glover, her lifelong love for the late Garry Marshall, and why she needs a real sit-down with the Queen of All Media.

    Moviefone: When the Stoopid Monkey guys called you for “SuperMansion,” were you already a fan, or did you have to check it out?

    Yvette Nicole Brown: I was already a fan. I love stop-motion animation, so they had me with that. You add in Bryan Cranston and Keegan-Michael Key, I’m sold. I got a call about an audition. I think people think there’s some glamorous world where people just get calls going, “We need you on set tomorrow, darling!” No, it’s, “Would you like to audition for ‘SuperMansion’?” “Yes I would.” So I auditioned twice, and I got the nod.

    What did you want to bring to it? Once you got a sense of the role, and you knew the show already, what did you want to bring your contribution?

    I wanted her to be wacky, unpredictable, and fun. Every time Portia came to the scene, or Zenith came to the scene, I wanted them to know that it was going to be crazy fun. I hope that’s what I brought.

    Did you have to think, “Do I do it mostly in my own voice? Or do I put on a weird cartoon voice?”

    I think I was thinking “talk show host,” and she has to have gravitas, and she has to have an Oprah way of speaking. And I did her kind of like in reference to Oprah at first, and then the more we recorded, we realized how crazy she is. So we needed to take Oprah to, like, crazy town. So then it got kind of morphed into more of a mixture of Oprah sensibilities and wanting to help people, but then just a wacky black woman

    Have you met Oprah?

    I have met Oprah, but I haven’t met Oprah. I’ve had the, “Hi, I’m Yvette, I love you” moment, but I want to have a sister-girl sit-down, fry-some-chicken, talk-about-life moment, and I hope one day I achieve enough where I can get that invitation.

    One of the things I love about you is that you are a fan as much as you are a pro.

    I am a fan more than I’m a pro.

    Tell me what’s happening inside your head in a case like this, as in some of the other things you do where you’re living out the fan dream, when you get to show up thinking “I’d pay you guys to be here.”

    I actually hosted the Golden Globes red carpet for the Hollywood Foreign Press and Twitter and I had a moment where it was like, “I need to cut somebody a check. This right here …” Or refuse the check they give me, because this is my childhood dream come true.

    I’m interviewing Mel Gibson and Vince Vaughn and Tracee Ellis Ross and Octavia Spencer and Donald Glover. To get to talk to a couple of my friends, hours before they got their first Golden Globe, and to know that that moment of anticipation and excitement is saved forever, and me getting my chance to wish them well publicly is saved forever, there is nothing greater.

    Let’s talk about one of those friends, Donald Glover, for a second. You knew he was talented. You knew he was multi-talented, but what’s been happening lately …

    Listen, if you Google me talking about Donald Glover as far back as 2009 or ’10, I have said this from the beginning: I have never met anyone more talented in every creative endeavor than Donald Glover. He can dance, he can sing, he can draw, he can bake, he can write, he can rap. When we were there first season, and he brought in sweet potato pies, little mini pies that he had made himself? “The baby bakes? Looks like the baby bakes, too.”

    There’s nothing that he can’t do, and also, he’s very efficient with time. When they yelled cut on “Community,” I went to the craft services table, as anybody who watched me balloon on that show will know. When they yelled cut on “Community,” Donald went and sat in front of his computer and wrote a song, or went and sat in front of his computer and wrote a script, or did a treatment. No time is wasted. I don’t know if he sleeps now, there was a moment in time where Donald wasn’t sleeping. He was like, “I’ve got too much. I’ve got to get it out.” So he’s the truth.

    And the thing that I always say about him, too — and I know I gush about him a lot publicly, but I’m so proud of him — he’s also a good man. There’s a lot of people that get a pass for bad behavior because they’re talented, and this industry rewards bad behavior, and you see people that are horrible just continue to get opportunity after opportunity. Donald deserves every opportunity he gets because he’s still a decent human being.

    I don’t think being Lando Calrissian is going to change him. I don’t think being a Golden Globe-winning show creator and actor is going to change him. I think he’s a good egg and will remain a good egg until the Lord calls him.

    Tell me about being an actress, and being Yvette on camera, too. You’re straddling both worlds now. What’s cool about that for you?

    You know what’s cool about it is I always think of acting as an offering. I don’t use it to take; I use it to give. I feel like there’s a lot going on in the world, and if I can be a part of something that makes people forget something at their job, or something in politics or whatever, for 30 minutes, what a gift that is. So I look at acting as an opportunity to say, “What can I give to people today?”

    I think of my Twitter page the same way. The hosting and the “Talking Dead” is me taking. It’s me as little Yvette from east Cleveland being around people whose work energizes me. It’s me getting to talk about television shows that I absolutely love. So it’s very evenly measured. I give and I take, and I hope that I give in the same measure that I take so that the scale stays balanced.

    You, of course, are a well-known “Walking Dead” superfan. Do you think they’ll ever let you on the show to act? Or is it too meta?

    It probably is too meta! I think I could probably be a walker. I’ve talked to Greg Nicotero and Scott Gimple about being a walker. My only thing is, I’ve done prosthetic work before on “Percy Jackson,” and it’s very long hours, and they shoot in the summer in Atlanta, and I’m a girl that likes comfort! So I joke and say, “If they ever want to do a flashback to before the zombie apocalypse in an air conditioned room, I am the girl to call.” But as long as they’re in the woods with soot and dirt on their faces in the summer time, I’m going to have to pass.

    Super polarizing season this year.

    It is!

    What side of the pole are you on?

    I have always been someone that affords a creator the opportunity to create the show that they want to make. I respect Robert Kirkman, I respect Dave Alpert, I respect Scott Gimple, Gale Anne Hurd, Greg Nicotero. They are telling their story, and I as a fan do not have a right to dictate the ride they take me on. I can get out of the car, but I don’t get to ride in someone’s passenger seat or back seat and dictate where they’re taking me. That’s just rude.

    So I thought that the first episode was brutal, but I felt that in order to pay homage to the comic book, it had to be. I feel like those of us that have watched the show from the very beginning, we’ve seen entrails out of people, we’ve seen bloated walkers in wells, we’ve seen people literally ripped to shreds. The reason that episode, the first episode, destroyed as much as it did, was because it was someone that we had been with from the very beginning, and it happened to him.

    But we’ve seen violence equal to, or at times worse, than what we saw in that episode. So I’m not going to tap out because a show about zombies is violent. And I also am not going to tap out before I see the person that caused the violence get their comeuppance. I believe the second half of this season is going to be amazing. I believe that my group is going to find themselves again and come together, and fight back this evil as they always do, and I’m going to be on my couch watching it when it happens.

    At the Globes, Meryl Streep made a sensation, and you yourself have been outspoken on Twitter about politics. I find it ironic that Donald Trump is someone who used his celebrity platform to actually end up in the highest office of the United States of America, and yet actors shouldn’t say anything?

    Isn’t that interesting? Doesn’t the irony just wash over you like an acid bath? That’s what someone said on Twitter. I thought that was a perfect way to say it. I’ve never felt that your vocation prevents you from being American. I never thought that your vocation or your profession prevents you from speaking up about things that grieve your spirit.

    I believe that you are given a platform to use responsibly. I try to do everything in my life with love, with kindness, and with care. When the nation is confronted with someone who mocks disabled people, who assaults women, who vilifies religion — certain religions — and vilifies certain races and ethnic groups, who tears down the family of a soldier who has passed away, who’s called women pigs, and dogs. As a black woman, a double minority, who would I be if I did not speak out against that evil?

    And I don’t care what office he’s in. He’s not the best of America. I’m not saying he can’t be better. It is my sincere prayer that he will get better. But I’m saying what I’ve seen right now, as long as it stays like this, as long as I’ve got air in my breath and Twitter followers, I don’t care if it’s five of us by the time I’m done, I will continue to speak about the things that are not the best of us.

    As a celebrity that’s very wired into social media, you’re a bigger target than me when people disagree with you. How do you handle that?

    Most of them are ignorant — and I didn’t say “dumb,” I said “ignorant.” They don’t know, and a lot of them don’t know that they don’t know. That’s not saying they can’t open up a book, Google a reputable news source and find out, they just don’t know. So the first thing I try to see is, is this someone that is reachable? Because if they’re reachable and they just don’t know, then I’m going to try to share what I can to pull them back from the brink.

    But you’ve got someone in power working against that by calling news fake, and vilifying journalists, and saying that anything that is said that doesn’t come from this source is not true. I knew something was wrong when he told his followers not to watch the DNC. So I watched the RNC. I watched every minute of it. I’ve watched every debate from all of the parties. I am fully aware of every single person that ran. I watched everything. That’s how you make a decision.

    So if all you hear is one side of a story, and you have someone saying, “My side is the truth, but that person is lying,” how will you know? My heart broke when he did what he did to that CNN reporter. My heart broke. Because this is a man that has the most power in the world telling the people that are going to keep him in check “You don’t matter. Your questions don’t matter, and what you put out is not real. Because you’re saying things about me that I don’t like.”

    If he was a decent man, and he heard that a foreign power had intruded in our electoral process, and he cared about this country, he would say, “Stop everything. Let’s redo all of this. Because I don’t want it if I didn’t earn it, and I definitely don’t want it if somebody wants me because it benefits them, and that person is possibly a war criminal.”

    You guys don’t know yet about the future of “The Odd Couple”?

    We don’t. No idea. No, we have no idea. We literally will find out in May, and they have us until June. And listen, we did the best we could, CBS did the best they could, Nielsen numbers count. That’s why I’ve been begging to everyone, I’m like, “Guys just watch these last three. If you’ve never seen the show, please tune in.”

    They put us behind Matt LeBlanc‘s show and we held on 100% to his — and he was a rerun, and we held on to all of it. That’s the first time this season we’ve held on to 100% of our lead-in. I think Matt into Matthew [Perry] would have been a really great opportunity for our show. I don’t know why it never happened.

    Did you get to have many encounters with Garry Marshall before we lost him last year?

    I did. There’s actually a video of me talking to [TV Line’s] Michael Ausiello where I cried like a baby through the whole interview about Garry. He was simply the best that there was. The only person I can think of that even comes close to his level of caring for other people is Henry Winkler. The two of them are cut from the same cloth.

    This, in my opinion, perfectly encapsulates who Garry Marshall was: he said, “It’s nice to be important, but it’s more important to be nice.” And he lived that. I don’t care if you were a street sweeper, or President of the United States. Garry treated you exactly the same and it was with love and kindness. And if you were rotten, he let you know you were rotten, and you didn’t have to be that way. You could do better, because we don’t do that here. And he created sets with lovely, wonderful people for that reason.

    I felt his loss stronger in certain instances than some family members that I lost, because there’s not a time in my life where he wasn’t a part of it. I love entertainment, so at every point in my life, there’s a Garry Marshall moment, a Garry Marshall memory. Then to get to work with him, and he was lovely, funny, and an encyclopedia of sitcom info.

    When he did the episode he did with us, getting to act with him was amazing because he’s got little tidbits: “When you cross, you make sure you ring the doorbell, then knock on the door — it’s funnier.” And sure enough, if you rang the doorbell and then knocked, the crowd went “Yaaah!” It’s like he understood the math of how a joke hit someone in the funny bone.

  • 17 Things You Never Knew About ‘The Princess Diaries’

    Fifteen years ago, Anne Hathaway made her film debut in “The Princess Diaries” as geeky teen Mia Thermopolis, who learns she’s really a princess of a country called Genovia.

    Cue fabulous makeover, happy ending and a sequel. Director Garry Marshall, costar Julie Andrews and Hathaway were just talking about reuniting for a third “Princess Diaries” film before Marshall’s untimely death on July 19.

    Here are some things you might not know about the 2001 comedy, which opened on August 3, 2001.1. Hathaway landed the part of Mia partly because Garry Marshall’s granddaughters saw her audition tape and said she had the best “princess hair.”

    2. Among the actresses who reportedly turned down the role of Mia: Drew Barrymore, Reese Witherspoon, and Kate Hudson.3. Hathaway only had one audition for the film. As she told Access Hollywood in 2001, “I was on my way to New Zealand for an independent movie and I had a 26-hour stopover in Los Angeles. I asked, ‘Can I do some auditions? What about ‘The Princess of Tribeca’ — which is what this was called then.” She met with Marshall and “got really nervous and, at some point, fell out of my chair… I think that’s what impressed him the most.” Disney wanted her to do a screen test, but she couldn’t because of her trip to New Zealand. Luckily, her audition tape was good enough to get her the job.

    4. Hathaway’s klutziness that landed her the part also made for a memorable scene in the movie: Her trip over the bleachers wasn’t scripted, but Marshall loved it and kept it in.5. Mia’s cat Fat Louie? Hathaway’s real-life pet (above). It had to be doubled by three different cats, one that could be carried, one that would sit perfectly still, one who could jump, and the last one who sits on the envelope at the end of the movie.

    6. That was also the actress’s real dental retainer! Marshall added it to the script when he learned she used to wear one. She managed to find it and brought it to set.
    7. “The Princess Diaries” is the only major role for musician Robert Schwartzman, who prefers to focus on his band, Rooney. (They make a small appearance in the film.) Film definitely runs in his family: He’s the son of actress Talia Shire, his brother is “Rushmore” star Jason Schwartzman, and his cousin is Sofia Coppola. He had a small role in her film, “The Virgin Suicides.”

    8. During post-production, Schwartzman reportedly wanted to change his name to Robert Cage in honor of his cousin, Nicolas Cage (who was born Nicolas Coppola). But the promo material had already been finalized, so he kept his real name.9. Hathaway’s bushy hairpiece was so unruly, it was nicknamed “The beast.” And her out-of-control fake eyebrows took an hour to apply since each hair had to be individually applied.

    10. Marshall loves to use the same actors over and over: Hector Elizondo is in all of his films. He also loves to repeat a gag. In the scene where Mia drops a grape at the dinner table and sets off a comical chain of accidents, the waiter says, “It happens all the time.” The same actor delivered the same line in “Pretty Woman” (1990) when Julia Roberts accidentally sends a snail flying while trying to eat escargots. (Slippery little suckers.)
    11. “The Princess Diaries” was a family affair: The girls seeking Mia’s autograph are Lilly and Charlotte, Marshall’s twin granddaughters. And Clarisse’s secretary Charlotte, is played by Kathleen, his daughter.

    12. Marshall cameos as a guest at Genovia’s annual independence ball, as does sister Penny Marshall.
    13. The romance between Queen Clarisse Renaldi (Julie Andrews) and Joseph (Hector Elizondo) wasn’t in the script, and the two actors improvised their dance scene.

    14. Meg Cabot, who wrote “The Princess Diaries” book series, had no input on the film. As she wrote on her site, “People always ask me if I ‘helped’ with the ‘Princess Diaries’ movie. I really didn’t. I don’t think Garry Marshall needs ‘help’ to make a movie… especially ‘help’ from a novelist who has absolutely no experience in film-making! And good thing I didn’t help with the first movie, because it did just fine without me.”15. Hathaway told HuffPost Live that “Princess Diaries” was “a great first job,” but she struggled to land more serious acting gigs afterwards. “It was hard get into rooms, to be taken seriously for roles that weren’t princesses.”

    16. Hathaway did not get to keep the tiara she wears in the movie, but Disney did send another one home with her.17. Whitney Houston, who produced the film, surprised Gary Marshall on set with a giant cake and sang “Happy Birthday” to him.
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  • ‘Pretty Woman’ Director Garry Marshall Dead at 81

    9th Annual Film In California ConferenceHappy Days,” died Tuesday at the age of 81.

    He died from complications of pneumonia, and his death was confirmed by Access Hollywood late Tuesday night.

    His most recent movie, “Mother’s Day,” featured Julia Roberts, Jennifer Aniston, Kate Hudson, and more big stars that he had worked with many times before. He was also known for movies such as “The Princess Diaries,” “Runaway Bride,” “Beaches,” and “Valentine’s Day.”

    He will truly be missed in the film community, which is already evident by the countless celebrities that have taken to Twitter to mourn his passing.

    Our thoughts are with his friends and family.

  • 5 Reasons Why Nothing Can Stop ‘Jungle Book’ at the Box Office

    Many box office analysts predicted that “The Jungle Book” would not only three-peat atop the box office this weekend, but that it would earn more than three new wide releases combined.

    In fact, it earned nearly twice the combined total of those new releases. In its third weekend, the Disney talking-animal tale earned an estimated $42.4 million in North America, while newcomers “Keanu” (at an estimated $9.4 million), “Mother’s Day” ($8.3 million), and “Ratchet and Clank” ($4.8 million) combined for about $22.5 million.

    So far, “Jungle Book” has been blessed, not only by its own strong reviews and word-of-mouth, but by weak competition. Still, good fortune and good timing aren’t enough to explain why the Rudyard Kipling adaptation has held up so well or why none of its rivals can muster up much interest on their own. Here are five reasons why “Jungle Book” bested all comers this weekend.

    1. It’s the Event Movie of April
    This column has already noted the strengths of “The Jungle Book,” including its calculated appeal to all demographics, Disney’s skillful marketing, and the movie’s visual spectacle that demands to be seen in 3D or large-format screenings. But the movie has also become the event movie of choice for the past month, helping cement April as the new start of the summer blockbuster season.

    Having earned a very strong A grade at CinemaScore, “Jungle Book” has generated more enthusiastic word-of-mouth than any other April movie. As a result, the movie has boasted unusually strong legs, declining just 40 percent its second weekend and just 31 percent this weekend. On its 4,041 screens, it’s still averaging $10,502 per theater, far above any other movie currently in wide release.

    2. Weak and Poorly-Executed Competition
    That’s what’s plagued many of “Jungle Book’s” competitors over the past three weeks, at least according to critics.

    This weekend, “Mother’s Day” and “Ratchet and Clank” earned particularly harsh reviews, managing only an 8 percent and a 19 percent fresh rating, respectively, at Rotten Tomatoes. Audiences liked them a little better (they graded the movies B+ and B, respectively, at CinemaScore), but that still indicates less than avid word-of-mouth.

    3. Market Saturation
    “Keanu,” the R-rated comedy from sketch duo Key and Peele, did get positive-ish reviews (75 percent at Rotten Tomatoes) and just-okay word-of-mouth (a B CinemaScore), but it had to compete against the still-strong “Barbershop: The Next Cut,” another well-reviewed, adult-oriented comedy with greater star power and a less restrictive PG-13 rating. (In its third weekend, “Barbershop” earned another estimated $6.1 million, good for fifth place.)

    In fact, the adult audience had more than enough to choose from this weekend, from last week’s newcomer flop “The Huntsman: Winter’s War” to “Mother’s Day.” “Ratchet and Clank,” a cartoon based on a videogame, did have kid appeal, but not more than “Jungle Book” or even nine-week-old “Zootopia.” It finished below both those Disney movies, in seventh place.

    4. Dim Star Power
    Keegan-Michael Key and Jordan Peele may have a big cult following from “Key & Peele,” but it didn’t translate into box office drawing power. “Ratchet” has some big names, including kid star Bella Thorne and John Goodman (whose voice kids might recognize from Pixar’s “Monsters, Inc.“) but no one who’s guaranteed to sell tickets, not even Sylvester Stallone.

    And speaking of people who used to be box office draws, “Mother’s Day” features Julia Roberts and Kate Hudson, neither of whom has set the box office on fire in recent years. It also features Jennifer Aniston and Jason Sudeikis, who’ve done well in recent years; they even had a smash together in “We’re the Millers.” But there’s no reason fans of that raunchy, R-rated comedy would be interested in the mild, PG-13, family-themed “Mother’s Day.” Like director Garry Marshall’s other recent holiday-timed movies, this is an ensemble comedy of interlocking stories with a common setting and theme, so its selling point is its premise more than its cast.

    5. Captain America
    In many ways, the box office is in a holding pattern until Disney and Marvel’s “Captain America: Civil War” kicks off summer on May 6 — just like they did last summer when “Avengers: Age of Ultron” opened during the first weekend of May.

    Already, the superhero showdown has opened overseas, where it did a jaw-dropping $200.2 million in estimated sales in 37 countries. No doubt it’ll be similarly huge when it drops in the U.S. It’s no surprise that the studios have been saving their big guns for the summer. If they’d waited another week to issue any of this weekend’s new wide releases, even putting “Mother’s Day” out on the actual Mother’s Day weekend, those films would have been clobbered for certain.

    Better to take your chances against the three-week-old predators of “The Jungle Book.”

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  • Anne Hathaway, Director Garry Marshall Planning ‘Princess Diaries 3’

    princess diariesDust off your tiaras, “Princess Diaries” fans!

    The team behind the 2001 hit teen comedy (and the 2004 sequel) are planning for a third royal affair. As director Garry Marshall told People, “I was with Anne Hathaway a couple weeks ago, it looks like we want to do ‘Princess Diaries 3’ in Manhattan. Anne Hathaway is very pregnant, so we have to wait until she has the baby and then I think we’re going to do it.”

    In the original film, Hathaway plays American teen Mia Thermopolis, who discovers she’s the heir to the kingdom of Genovia. Her grandmother (Julie Andrews) has the hard task of molding Mia into a worthy princess. The sequel focuses on Mia’s romantic life, as she falls for a handsome lord, played by Chris Pine.

    Speaking of Pine, would he be in “Princess Diaries 3”?

    “Maybe,” Marshall teased. “He’s quite big now, you know.” (Pine has since become a major star after headlining the “Star Trek” movies.)

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  • Now It’s Time to Ruin Mother’s Day With All-Star Ensemble Movie

    21st Annual Screen Actors Guild Awards - ArrivalsAs if ruining Valentine’s Day and New Year’s Eve wasn’t enough, director Garry Marshall has set his sights on taking down another holiday with a star-studded movie featuring insipid, loosely-connected stories.

    Deadline reports Marshall is helming “Mother’s Day,” with Julia Roberts on board to star. Jennifer Aniston, Kate Hudson, and Jason Sudeikis are in talks to join her. The film will tell “intertwining stories about the lives of several mothers as the title holiday approaches.” Ugh. What did mothers ever do to you, Garry?

    If you recall, Marshall has wreaked this havoc before with “Valentine’s Day,” which also starred Roberts (as well as Bradley Cooper and Taylor Swift), and “New Year’s Eve” with Halle Berry, Jessica Biel, and Zac Efron. The former has an 18 percent rating on Rotten Tomatoes; the latter has 7 percent.

    Of “New Year’s Eve,” the great Roger Ebert wrote: It “is a dreary plod through the sands of time until finally the last grain has trickled through the hourglass of cinematic sludge. How is it possible to assemble more than two dozen stars in a movie and find nothing interesting for any of them to do?” (The man was a god. RIP.)

    We shudder to think which holiday Marshall will go after next. It’d better not be Thanksgiving!

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  • ‘Pretty Woman’: 25 Things You Didn’t Know About the Julia Roberts Classic

    richard gere and julia roberts pretty womanNo one expected much from “Pretty Woman” when they were making it. It was a modestly-budgeted romantic comedy whose stars were Richard Gere (then in the depths of a career slump) and Eric Roberts’s kid sister. But when the movie was released, 25 years ago this week (on March 23, 1990), the project was transformed from overlooked stepsister to box office royalty. Mirroring her on-screen Cinderella makeover, Julia Roberts went from little-known ingenue to queen of Hollywood. Plus, the film saved Gere’s career and (along with 1989’s “When Harry Met Sally”) revived the romantic comedy genre in Hollywood.

    A quarter-century later, “Pretty Woman” remains a fan favorite, one you’ve seen a million times on cable. Even so, there’s much you may not know about the movie — the difficulties in casting (Gere and Roberts weren’t anyone’s first, second, or third choices), crises on the set, what was left out of the final film, and how the principals reunited for the successful non-sequel “Runaway Bride.” Here, then, are the secrets behind “Pretty Woman,” many of them divulged by director Garry Marshall in his memoirs “Wake Me When It’s Funny” and “My Happy Days in Hollywood.”

    1. J.F. Lawton’s script started out not as a peppy romantic comedy or modern-day Cinderella tale, but as a bleak drama. Edward was a ruthless corporate raider and Vivian a long-time, drug-addicted streetwalker. Part of their week-long arrangement was that Vivian had to stay off cocaine for the duration. The relationship ended with Edward striking Vivian to the ground, throwing the $3,000 at her, and leaving her screaming at him from the gutter where he first found her. The story ended with a scene reminiscent of “Midnight Cowboy,” with Vivian and Kit boarding a bus to Disneyland.

    2. Disney gave the script to veteran comedy director Marshall to lighten it up. On a scale from 1 to 10, where Neil Jordan’s gritty prostitution drama “Mona Lisa” was a 2 and “Cinderella” or “My Fair Lady” was a 10, the studio asked Marshall to turn the script into an 8. Marshall promised a 6 or 7, but with laughs.

    3. The first thing that had to go was the title, “Three Thousand.” As Marshall recalled, “Test audiences given the premise and the title thought ‘Three Thousand’ was a movie about prostitutes from the moon who had orgasms in orbit.”

    4. Five writers were involved in the rewrite process, including Lawton. Softening Vivian’s character was easy, Marshall recalled, but only “Big Chill” screenwriter Barbara Benedek (the lone woman among the script doctors) figured out how to soften Edward. She modeled him after Donald Trump but added vulnerability. Benedek also wrote the dental floss scene, as a funny way of revealing that Vivian did not use drugs.

    5. Several actresses turned down the role of Vivian. Daryl Hannah felt the part was misogynist. Michelle Pfeiffer (whom Marshall would cast a year later as the lead in “Frankie and Johnny”) also disliked the tone of the material. Marshall met with Madonna, but the singer, then 30, felt the part would be better suited to someone under 21.

    6. Looking at actresses under 21, Marshall considered Molly Ringwald (then 20), but the “Pretty in Pink” star was uncomfortable with the role’s sexual content. He also considered Winona Ryder (17) and Jennifer Connelly (18) but decided both were too young.

    7. Producer Steve Reuther suggested 20-year-old Roberts, then known to movie audiences only as one of the three stars of cult hit “Mystic Pizza.” Roberts met with Marshall and immediately told him, “I won’t be naked.” He was charmed.

    8. The filmmakers approached Al Pacino to play Edward, but he was too busy. Marshall would soon cast him in the lead in “Frankie and Johnny.” Others who read for the role included Sam Neill and Charles Grodin, but it was Gere whose readings with Roberts clicked with chemistry, and whom Marshall deemed sexy enough for the role.

    9. Ralph Bellamy, then 85, was cast as James Morse, whose shipbuilding company is the target of Edward’s hostile takeover bid. It was to be the final performance of his 63-year career; he died in 1991.

    10. Marshall casts Hector Elizondo in every project, considering the actor his good luck charm, but Disney balked at his salary demands for playing hotel manager Bernard Thompson. Marshall paid half of Elizondo’s salary out of his own pocket, though Disney reimbursed the director after the studio saw how effective Elizondo was in early footage.

    11. Newbie Roberts was uncomfortable with even the limited nudity involved in reclining beneath a layer of soap bubbles in the bathtub. Marshall put her at ease with a prank. During the scene where Vivian ducks underwater and then re-emerges, Marshall had all the crew flee the set, so that when Roberts popped back up, she was alone except for the cameraman. That broke the tension.

    12. Still, during the scene where Vivian and Edward are making love (not just having prostitute-client sex), Roberts was so nervous that a bulging vein on her forehead was visible, and she developed a case of hives. Calamine lotion was applied, the breakouts faded, and Roberts completed the shot.

    13. No nudity was required of Gere, but one day, he stripped and walked around the set, just to shock the rest of the cast and crew.

    14. During one late-night shoot, Roberts fainted on the set. It turned out that all she’d eaten in the past two days was an avocado. Marshall plied her with tuna fish, and the shoot continued.

    15. To keep the budget modest (at $14 million), the filmmakers relied on product placement. For the sports car Edward borrows at the beginning of the film (and which Vivian teaches him to drive properly), the production solicited Ferrari and Porsche but were turned down because the manufacturers didn’t want to be associated with a movie scene where a john picks up a hooker on the street. Lotus had no such qualms, which is why the scene features an Esprit.

    16. Gere bristled at being the straight man to Roberts all the time. “You don’t really need me,” he complained. “You just need an image of a suit and tie. Why don’t I just go home, and you can film my suit?” So the filmmakers wrote him the one-liner in the opera sequence where he covers for Vivian’s “peed my pants” remark by saying, “She said she liked it better than ‘Pirates of Penzance.’”

    17. The scene where Edward snaps the jewelry box shut on Vivian’s hand and makes her laugh was unrehearsed. Roberts was groggy from lack of sleep, and Marshall suggested the lid-slam to Gere as a way to snap his co-star back into alertness. It worked so well that Marshall kept Roberts’s spontaneous response in the film. She laughed so hard that even the jeweler’s security guard, on the set to keep an eye on the loaned $25,000 necklace, laughed too.

    18. Roberts’s laughter during the scene where she’s watching “I Love Lucy” was similarly unrehearsed. Marshall made her guffaw by tickling her feet outside of camera range.

    19. Gere composed the tune that Edward plays on the piano in the hotel lounge and performed it himself.

    20. To ramp up the amount of fish-out-of-water comedy in the film, Marshall shot a number of scenes where Edward finds himself ill at ease in Vivian’s world (namely, the Blue Banana bar). In one of those scenes, Edward is menaced by a skateboard-riding drug dealer, played by the director’s son, Scott (cast because his father knew he could skateboard). But Marshall felt the scenes didn’t work emotionally and cut them all.

    21. The final scene, on the fire escape, had to be shot nine times. Roberts was wearing slippery shoes, and Gere’s suit kept getting dirty as he climbed. Plus, there was opera music to blast and pigeons to wrangle. Still, on the final take, Marshall knew he’d gotten the ending right when one of the policemen hired to keep traffic away from the shot began to mist up.

    22. The film earned $178 million in North America and another $285 million overseas, for a total of $463 million.

    23. The soundtrack album was a smash, too, going triple platinum (that is, selling at least 3 million copies). It spawned such hits as Roxette’s ballad “It Must Have Been Love” (which topped the Billboard chart that June), Natalie Cole’s “Wild Women Do,” Go West’s “King of Wishful Thinking,” and Red Hot Chili Peppers’ “Show Me Your Soul.” It also included Roy Orbison’s 1964 chestnut “Oh, Pretty Woman,” for which the film is named.

    24. Roberts was nominated for a Best Actress Oscar. It was the only Academy Award nomination the movie received.

    25. After the film’s success, it seemed everyone wanted a sequel. The Buddhist Gere told Marshall that he’d been in a cave in Tibet when a monk asked him, “When are you going to make ‘Pretty Woman 2’?” It was at that moment that Gere said he decided that he, Roberts, and Marshall should reunite for whatever script they could find that worked, rather than wait for a writer to craft a viable “Pretty Woman” sequel. He and Roberts found the “Runaway Bride” script and approached Marshall with it, leading to the team’s successful reunion with the 1999 romantic comedy.

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