Nicole Kidman and her shingle, Blossom Films, has optioned the film rights to the Off-Broadway vampire drama “Cuddles.”
Penned by playwright Joseph Wilde, the thriller examines the strange and disturbing forms love can take. Wilde will write the film adaptation from his own play. Kidman will produce with Blossom partner Per Saari.
“Joe’s voice is so beautifully subversive. He’s exactly the kind of young writer Blossom is looking to support,” Kidman said in a statement.
Production company Blossom Films, founded by Kidman and Saari in 2010, is no stranger to literary adaptations. It most recently produced “The Family Fang,” based on Kevin Wilson’s bestselling novel. It was directed by Jason Bateman, and starred Kidman, Bateman and Christopher Walken. Blossom Films is also currently shooting the HBO series “Big Little Lies,” based on the New York Times bestseller by Liane Moriarty. It’s helmed by Jean-Marc Vallee, and stars Kidman, Reese Witherspoon and Shailene Woodley.
The deal was brokered by Matt Connell of Berlin Associates, who reps Wilde. Kidman is repped by CAA, Media Talent Group and Shanahan Management.
The last time Nicole Kidman appeared on Broadway — in David Hare’s “The Blue Room” — she took off her clothes for, oh, about eight seconds and set box-office records at the Cort Theatre.
That was almost 20 years ago, so I don’t think Kidman is dropping her drawers in public much anymore. But she is returning to Broadway this fall in the acclaimed West End play “Photograph 51.”
I hear she’s booked into the Lyceum, though if “Tuck Everlasting” falls short of its title, she can slip into the Broadhurst, where more seats equals more money.
Kidman received rave reviews in “Photograph 51” for portraying Rosalind Franklin, the scientist who played a major, though unheralded, role in discovering the DNA double helix.
Before your eyes glaze over and your chin hits your chest, I must report that London critics called Anna Ziegler’s play “thrilling,” “fascinating” and “absorbing.”
The title, for liberal arts majors such as myself, refers to an X-ray photograph of DNA that revealed its shape. Franklin led the team from King’s College London that took the photograph that captured the building block of life, though James Watson and Francis Crick were the first to publish what the snapshot unearthed.
Franklin, an icy, brittle woman — or so the play portrays her — died in 1958, at 37. She is perhaps remembered these days only by hard-core science buffs.
Directed and produced by Michael Grandage (“Frost/Nixon”), “Photograph 51” was a hit last fall on the West End. Those who saw it say it’s a good window into the ruthless, back-stabbing world of university research departments. A sort of “Sweet Smell of Science,” if you will.
Kidman was sexy and ethereal in “The Blue Room.” In “Photograph 51,” she’s tough, prickly, ambitious and unforgiving.
“It’s not what you expect from her at all,” says a Broadway producer who admires the play. “It’s a knockout performance.”
But I wonder: How viable is Kidman, clothed, at the box office in 2016? In 1998, she was at the height of her fame, married to Tom Cruise and becoming a major box-office draw herself. She landed on the cover of Newsweek the week “The Blue Room” opened in New York. (Does Newsweek even have a cover anymore? Is there even a Newsweek?)
Kidman’s become a well-regarded actress, but I don’t think she packs ’em in at the Regal Cinemas anymore.
Still, producers I spoke to on Thursday say her performance, and the play, are powerful enough to impress critics and audiences looking for a gripping, intelligent evening in the theater.
And even though I got a C in biology in college, “Photograph 51” sounds pretty interesting to me.
Meryl Streep, Mel Brooks, Nicole Kidman and Zendaya are on board to voice characters in the animated film “The Guardian Brothers.”
The Weinstein Company has bought worldwide rights, except for China, Hong Kong, Taiwan and Macau, and will launch sales at the Cannes Film Festival.
The movie was released previously in China by Alibaba Pictures under the title “The Little Door Gods.” Streep will play the film’s storyteller.
Gary Wang directed “The Little Door,” produced by Zhou Yu and Light Chaser Animation Studios. TWC noted that it recently bought international distribution rights for “The Nut Job 2,” which it will also be selling at Cannes.
“I’ve loved working with our Beijing partners Light Chaser Animation,” said TWC Co-Chairman Harvey Weinstein. “Everyone who knows me, knows I’m determined to build our animation division for film and television. This is going to be a huge area for our company and ‘The Guardian Brothers’ is just the beginning of our plan to bring the caliber of film associated with TWC to animation.”
Wang said, “We are thrilled that Harvey and the Weinstein team share our enthusiasm for this very Chinese film. It has been amazing working with them. I feel that our story has found a perfect home, and hope that the families around the world will enjoy the film.”
“The Guardian Brothers” follows a Chinese family in danger of losing its wonton soup shop that’s been left in the hands of a little girl named Raindrop (Zendaya) and her mother (Kidman). When two retired members of the Guardians of the Spirit World — who have watched over humans on Earth for centuries — find out about the problems, they spring into action.
The deal for the project was negotiated by Michael Lappin, Michal Steinberg and Talia Houminer for TWC, with Zhou Yu and Gary Wang on behalf of Light Chaser Animation Studios.