HOLLYWODREPORTER.COM – Marvel Studios is in talks with Bradley Cooper and Elizabeth Olsen to join the casts of two of its movies, sources confirm to The Hollywood Reporter.
Marvel is in early talks with Cooper for the actor to voice Rocket Raccoon in Guardians of the Galaxy, its sci-fi adventure movie. And the company is in negotiations with Olsen to play the Scarlet Witch in The Avengers: The Age of Ultron, the sequel to the billion-dollar-grossing 2012 movie, multiple sources tell Heat Vision.
Sources familiar with the deals say that Olsen’s dealmaking is further along than Cooper’s, which is just beginning. Bleeding Cool first reported Olsen’s negotiations. Latino Review first reported Cooper’s offer.
Marvel had no comment.
Marvel is already in production on Galaxy in London with a cast that includes Chris Pratt, Zoe Saldana and Dave Bautista as space-spanning adventurers.
Also among the Guardians are Groot, a giant tree-man, and Rocket Raccoon, a genetically engineered procyonid with a knack for guns and explosives. Both characters will be CGI creations, and Raccoon has already proven himself to be a favorite among the fanboy crowd. (Vin Diesel is in talks to voice Groot.)
James Gunn is directing the movie, which has a Aug. 1, 2014, release date.
Warner Bros, Atlas Entertainment and director Jay Roach are making their move in the race to mount a feature on Lance Armstrong, the 7-time Tour de France champion who was defrocked and disgraced when he finally admitted he was doping. Bradley Cooper is in talks to come aboard as a producer, and he’s also looking to play one of the two major roles in Red Blooded American. One of those roles is Armstrong, and the other is Tyler Hamilton, the former Armstrong teammate who was part of Armstrong’s inner circle on the US Postal Service Team and who came forward and told what he saw Armstrong doing in a 60 Minutes segment. Hamilton was the recipient of blistering attacks from Armstrong for breaking what had been a closed circle. At the time, Armstrong had been accused of doping numerous times, but always had been steadfast in his denial.
Their intention is to ride a fast track toward production, and they are not alone. I’ve reported that Working Title has director Stephen Frears pedaling hard on an Armstrong film that will star Ben Foster as the champion cyclist, from a drama scripted by Trainspotting‘s John Hodge. That film could get underway as quickly as the fall. There is also a Paramount Pictures project with Bad Robot partners JJ Abrams and Bryan Burk, based on Cycle Of Lies: The Fall Of Lance Armstrong, a book by New York Times sportswriter Juliet Macur. Reports surfaced back when Armstrong copped to cheating that Cooper had been approached by Abrams to play Armstrong.
Cooper instead becomes the focal point of the Warner Bros project, which has a script by Side Effects scribe Scott Z. Burns. It will be produced by Atlas Entertainment’s Charles Roven and Alex Gartner, as well as Roach and now Cooper. Michael Radutzky, the exec producer at CBS News and senior producer at 60 Minutes who was involved in Hamilton’s TV appearance, is also going to be involved in a producing capacity. Cooper, who’ll next be seen in the killer ensemble cast of his Silver Linings Playbook helmer David O Russell’s American Hustle (which Atlas produced), is next scheduled to star in the untitled Cameron Crowe project that shoots in Hawaii in early fall. After that, he should be available to get on the bike. He and Warner Bros are recalibrating their film American Sniper after Steven Spielberg withdrew as director this month, and Cooper’s next firm commitment is to bring The Elephant Man to Broadway in the latter part of 2014. Cooper is repped by CAA.
Why is Hollywood so interested in the story of Armstrong when it was so recently in the news? His rise and fall is Shakespearean in nature. After nearly dying from testicular cancer in 1996, Armstrong fought his way back from chemotherapy and won all those Tour de France titles starting in 1998. He became one of the world’s most famous athletes and the poster boy for the U.S. Postal Service. His Tour de France wins were attributed to his iron will, but it became clear later on that PEDs were part of the mix as well. He was stripped of his titles and while Armstrong certainly wasn’t the only competitor doping, his admission obliterated the legacy of a great career. Sponsors fled after he admitted to Oprah Winfrey that he cheated, and he even had to remove himself from his cancer foundation Livestrong, which is still suffering a precipitous drop in donations.
Last Oscar season, Bradley Cooper deservedly earned a Best Actor nom for playing Pat Solitano in “Silver Linings Playbook,” but the Academy may have ignored his best performance of the year.
In “The Place Beyond the Pines,” Cooper plays Avery Cross, an ambitious young police officer who crosses paths with a motorcycle-riding bank robber motivated by familial responsibilities (Ryan Gosling). While interviewing Cooper to promote today’s home entertainment release of the film, Cooper told us Avery is “by far the most complicated character I’ve played on film.” That’s saying something, considering Solitano’s issues.
Writer/director Derek Cianfrance’s film is quite complex in its own right, which makes it challenging to properly discuss the intricacies of Cooper’s stirring performance without doing some serious plot spoiling. So, for the good of the art, we went there. You’ve been properly warned.
That said, the interview below is a can’t-miss – just like the film itself.
“The Place Beyond the Pines” blew my mind.
Bradley Cooper: It’s something else, isn’t it? Yeah. I agree with you, dude. I am so proud to be a part of that movie. I think he’s an incredible director.
How do you describe this movie?
BC: That’s a good question. I think it’s a generational story about fathers and sons. I think is how I would describe it. Does that sound accurate? What it is to be a man – dealing with the idea of what it is to be a man.
Yeah. I didn’t get that in the marketing.
I think that’s a really good tag line. I was kind of surprised by what I did see on the screen. Pleasantly surprised, but there was something in the marketing I would have liked to have known more about.
BC: Yeah. It’s a hard movie to market, man, because you don’t want to give away the fact that your hero gets killed, because you want people to go to the movie. You also want to bring people in, so I think maybe you play up the violence. I’m just not sure. I don’t envy those who had to market the movie.
Well, I think it will hold up and I definitely think it will do really well in home entertainment, because it’s so interesting.
BC: Yes. I do too. I hope it gets out there because he’s a director that should be reckoned with for many, many, many years. It was such an ambitious movie.
The only reason why I even did the movie was to work with Ryan Gosling, who I just think is incredible, and Derek, after meeting Derek.
But after doing the movie, man, I fell in love with that character. I think it’s the most complicated character I’ve ever played. For sure.
How do you describe him?
BC: A man who is in quiet desperation to discover who he is. I think where Luke, Ryan’s character, is sort of outwardly, animalistically expressing who he is as man, Avery is torn by the emotional dilemmas that he has in his life.
He is the son of a judge, growing up in the very blue-collar town of Schenectady. So he becomes a cop instead. But at the same time, he can’t shy away from what it is that he’s good at, which is being a leader. But in what sense? Because the world that he wants to lead is gray, it’s not black and white. And even he is a part of that, a part of the shooting. Did he pull the trigger first? So he deals with the shame of that – the consequences of violence.
We watch our hero die in real time. He chooses to tell the story in a linear way. When you don’t do that and you flashback, you give the audience some candy, where we could see Ryan in the flashback later in the movie.
But that’s not the way life works. You know, I don’t see flashbacks of my father. He’s gone. And it’s like Luke is gone. You see him in a photograph that Avery holds on to, but outside of that, that’s it. I felt that that was a really bold thing that Derek did, that you don’t really see, ever, in movies.
Was it written that way? Was the structure written in the script like that?
BC: Oh yeah, man. Oh yeah.
I was mesmerized.
BC: Because like all of a sudden he’s shot, in a way that you never see, usually there will be like a slow motion thing or something, and he’s gone and then the next thing you know the other guy is waking up in the hospital, and you’re like, “What just happened?”
It’s really, really effective. So, you didn’t film many scenes with Ryan Gosling, but he was the reason you wanted to do the project?
BC: Yeah, I thought: I don’t know if I’ll ever get the opportunity again and I’ve got to take this one.
How many days did you guys work together?
BC: We just overlapped. It was two days, I think. But it felt very much like I was making the movie with him, because they shot all his stuff first and then I came on, and you could just feel – like his character – his presence there. The whole crew did “Blue Valentine” together, so I was definitely coming into a very family-like situation that I was coming and killing the chosen son. I mean it was pretty brutal.
It was intense man. It was intense. And I was very reluctant to do the movie because of that. And I hated the character that I was playing. But Derek and I really worked on Avery and we made him more complicated, more human, and more ambiguous. And it wound up being, I think, by far the most complicated character I’ve played on film. No question about it.
Even more complex than Phil [from "The Hangover"]?
BC: Well, yeah. I meant Pat, but yeah, Phil too. But there’s something about Avery. And doing the age thing, meeting him at 29 and then having him be 40. I actually enjoyed playing the young guy with the flattop.
But you didn’t have a mustache. What’s going on?
BC: We talked about that, the early ’90s wasn’t mustache heavy, and we thought I would have looked very old if we’d have done that.
You said you hated the role, right? You hated Avery’s character. So how did you choose to sign on for it? What was the part that made you say, “You know what, I hate this character, but I have to play him?”
BC: I have to say, it was Derek. He was relentless. And he was good to his word, too. He said, “Look, we’re going to change him. We’re going to make him more human and less stock.” And he did that. I said, “Okay, I trust you.” So we did it.
And how did you do that?
BC: Well, we took a lot of things out and made him more interesting, basically. Before, he was just sort of this ambitious guy who would do anything. It wasn’t very intriguing. But I don’t think Derek wanted to do that anyway, ever. That was just the incarnation that I read. He always said, “But that’s not the guy. We’re going to make him… you know.” Which he does with everybody. He really is rewriting all the time and crafting it to how it should be with the character and with the actors that he chooses. He just said, “Look, this is going to a profound experience, just trust me.” And he was more than right.
It was a close encounter that was not meant to be.
E! News confirms that Steven Spielberg has officially exited American Sniper, which would have seen him direct Silver Linings Playbook star Bradley Cooper in a big-screen biopic about Navy SEAL Chris Kyle, considered the most lethal sniper in American military history.
According to Deadline.com, the filmmaker and DreamWorks parted ways after Spielberg felt that he wouldn’t be able to execute his vision given the proposed budget.
The movie is based on Kyle’s memoir, American Sniper, and chronicles the multiple tours the marksman carried out on the frontlines during the Iraq War, only to be killed at a shooting range back in February at the hands of a vet suffering from posttraumatic stress syndrome whom he was trying to help
Cooper is still slated to produce the drama, and Spielberg and DreamWorks’ departure means production partner Warner Bros. is now free to attach another director so Sniper can reach the big screen.
This isn’t the first project the E.T. auteur’s ditched abruptly. He was once prominently slated to helm a remake of the 1950 classic, Harvey, but pulled the plug on that project after his go-to star Tom Hanks passed on filling the Jimmy Stewart role.
Before Sniper, Spielberg had also been flirting with taking the reins on Robopocalypse, a film adaptation of Daniel H. Wilson’s best-selling sci-fi novel that would have been his next directorial effort after the success of last year’s Lincoln. But he and DreamWorks postponed production in January after determining the script needed more work.
Of course, the Oscar winner does have plenty of other options on the table—from a redo of John Ford’s The Grapes of Wrath to respective biopics on famed Broadway composer George Gershwin and legendary Formula One racing champ James Hunt, scripts that he currently has in development.
And then, of course, there’s the slew of projects he’s producing including Jurassic Park IV; the next Tintin movie to be directed by Peter Jackson, The Adventures of Tintin: Prisoners of the Sun; and Transformers 4. And that’s not including a host of TV series, from Halo to a long-rumored miniseries about Napoleon, fulfilling the dream of his late mentor, Stanley Kubrick, who had long sought to make a film about the French leader.
And if those don’t work out, there’s always a future Star Wars entry, right?
Over the course of his career, Bradley Cooper has become an expert at playing all the shades of the asshole rainbow. But since 2011?s Limitless showed Hollywood that The Hangover star can open a film all by himself, Cooper has been receiving more varied roles in vastly more ambitious projects, like 2012?s Silver Linings Playbook and this year’s The Place Beyond the Pines, which hits DVD and Blu-ray tomorrow. “I think the opportunities really started to happen after Limitless came out and did well,” says Cooper. “I owe it all to The Hangover, and that allowed me to do Limitless, and Limitless definitely paved the road for directors to take a chance.”
One of those directors is Pines’ Derek Cianfrance (Blue Valentine), although working with him wasn’t the initial attraction for Cooper. “Initially Ryan Gosling drew me to the project because I’m just a huge fan of his and it was always a real dream to work with him,” he says. “Derek wanted to talk to me about one of the roles for the movie and when I met with him I thought, well, this guy is kind of incredible.”
Cianfrance has a notoriously in-depth process when it comes to his films, which oftentimes go through years of rewrites and dozens of permutations before making it to the screen. “Blue Valentine was 12 years and 66 drafts, and Pines was six years and 37 drafts,” says Cianfrance. “So I feel like I’m getting faster. I’m hoping the next film is 3 years and maybe 18 drafts.” The director started writing The Place Beyond the Pines while his wife was pregnant with their second son and the movie is thus heavily loaded with themes of legacy and sins-of-the-father inheritance. He divided the story into three distinct sections (Cianfrance refers to it as “Neapolitan ice cream”): Ryan Gosling as a bank-robbing motorcyclist, Cooper as the cop who tracks him down, and Emory Cohen and Dane Dehaan as their teenage children years later.
Cooper found his role especially challenging. “He was f—ing complicated to get my head around,” says the actor. “He made a lot of decisions that me personally I can’t even relate to, so to find a way into that and to explore that…maybe I feared those things in myself. I definitely had never been more scared to play a character in my life.”
Until now, at least. Cooper has another, even more difficult role on deck: Chris Kyle, the expert sniper for the U.S. military who was killed on a Texas gun range in February by a mentally disturbed fellow veteran. Steven Spielberg will direct the film*, American Sniper, and Cooper says the project is very important to him. “It’s a unique situation because it’s playing an actual man,” he says. “I mean, Jesus. I feel a tremendous amount of responsibility to do him justice and to do it right. I think it’s an important story to be told right now. It’s been quite a road. We bought the rights to the book and I was talking to Chris and we had every intention of making the movie already and then he was murdered. I know it’s going to be a tough role for me.”
David O’Russell was on “Good Morning America” this morning and released the first teaser trailer for “American Hustle.” You can check out the teaser below.
2 production stills of Bradley for his new movie “American Hustle” were just released. You can check out previews below and the full size photos in the gallery. The first is HQ and the other is MQ. Enjoy!
Movie Productions > American Hustle > Production Stills
I just updated the gallery with 142 MQ and HQ on set photos of Bradley filming scenes for his upcoming movie “American Hustle.” The filming dates various from March through May. Enjoy!
Movie Productions > American Hustle > On Set – March 15, 2013
Movie Productions > American Hustle > On Set – April 2, 2013
Movie Productions > American Hustle > On Set – May 7, 2013
Movie Productions > American Hustle > On Set – May 14, 2013
Movie Productions > American Hustle > On Set – May 15, 2013
Movie Productions > American Hustle > On Set – May 17, 2013
Movie Productions > American Hustle > On Set – May 18, 2013
Hi everybody! A few days ago I uploaded even more magazine scans to the gallery. I included scans from various years, which include 2011, 2012, and 2013. I hope you enjoy the scans and keep checking back for more updates!
Hi everybody! I made yet another big addition to the gallery today. I went through and uploaded magazine scans from 2013! I want to thank a good friend DeA for donating the the Hello! Canada, GQ Australia, and Details, and US Weekly magazine scans. It is a huge help and I truly appreciate it! Enjoy!
Magazine Scans > Scans from 2013