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The Hollywood Reporter has released its second daily issue for the American Film Market, which kicked off in Santa Monica on Wednesday. The issue features an analysis of the influx of star-directed films at the market, a look at Lionsgate nabbing the domestic deal for The Hitman’s Wife’s Bodyguard, and a conversation with Bill and Ted actor-turned-director Alex Winter.
“What I Really Want to Do Is Direct”
“What I really want to do is direct.” That used to be the ultimate line to puncture the pretension of actors who dared think they could step behind the camera. No longer. The hit rate of actors-turned-helmers — this year in particular — has been impressive. Given the blockbuster success of John Krasinski’s A Quiet Place, which earned nearly $340 million worldwide, to the indie cred — and $4 million-plus take — of skateboard drama Mid90s, Jonah Hill’s directorial debut, to the awards-season explosion that is Bradley Cooper’s A Star Is Born ($257 million worldwide and counting), it’s hardly surprising that actors are increasingly open about their directorial ambitions. And that, increasingly, the industry is letting them take the helm. ??At AFM this year, there are at least a dozen new projects featuring actors making their directorial debuts. THR takes a look at the trend.
The Hitman’s Wife’s Bodyguard
Lionsgate has boarded The Hitman’s Wife’s Bodyguard, Patrick Hughes’ sequel to his 2017 action-comedy hit, and will release the film stateside. The Hitman’s Bodyguard grossed $75.5 million for Lionsgate in the U.S. and more than $180 million worldwide. Samuel L. Jackson, Salma Hayek and Ryan Reynolds will reprise their roles as, the hitman, his wife and the bodyguard, respectively, in the new feature. More on the project, here.
“My Kids Think I’m a Titanic Dork”
To a generation of fans around the world, he’ll forever be San Dimas’ epic air-guitaring airhead William (Bill) S. Preston Esq., one-half of the greatest band of all time with Ted “Theodore” Logan: Wyld Stallyns. But more than a quarter-century on from their last bogus journey, Alex Winter has moved in a slightly more serious direction, carving out a niche as a director behind investigative documentaries. Winter, 53, talked to THR about his hope that his documentary The Panama Papers will generate the necessary public outrage by highlighting one key takeaway: how tax avoidance by the one percent directly impacts everyday citizens. And, because it would be rude not to, he also talks about getting the band back together with Keanu Reeves for the decade-in-the-making third Bill and Ted film, Face the Music.
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