It’s been some time since John Singleton made a movie that generated much excitement. (Though some Taylor Lautner fans might argue, thanks to this year’s Abduction.) But he has been looking at interesting movies in the past couple months. First he was mentioned as a possible director for Straight Outta Compton, the biopic of once-controversial rap group N.W.A — though it looks like that movie might go to Craig Brewer or another director.
But now Singleton is also being talked up as a potential director for the Tupac Shakur biopic that no one seems able to make. Antoine Fuqua was attached for some time, and production company Morgan Creek did some real work to keep him on the movie. But he couldn’t cast the lead, and Dreamworks dropped the picture, prompting Fuqua to move on to Hunter Killer. So can John Singleton succeed where Fuqua failed? Given that Singleton is one of the directors who worked with Tupac (on Poetic Justice, pictured above) he seems among the best-suited to make the movie. Read More »
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Training Day/Brooklyn’s Finest helmer Antoine Fuqua is set to direct a Tupac Shakur biopic titled Tupac, which will go into production in late Spring/early Summer 2011. The film will be shot on location in Los Angeles, New York, Georgia and Las Vegas and is currently being cast. Here is how Morgan Creek describes the story:
The film chronicles the life and legacy of Tupac Shakur, including his rise to superstardom as a hip hop artist and actor, as well as his imprisonment and prolific, controversial time at Death Row Records, where he was steeped in the East coast/West coast rap war.
Morgan Creek quotes Tupac’s mother Afeni Shakur-Davis as giving her blessing to the film, which will be distributed by Universal Pictures in North America. The screenplay was written by Steve Bagatourian (American Gun), and the writing team of Stephen J. Rivele and Christopher Wilkinson (Nixon, Ali, Moneyball). Read the full press release after the jump.
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Wow. After watching The Carter, the new all-access documentary on Lil’ Wayne, one might consider recommending it as the best doc about a hip hop icon ever. The problem with this superlative lies in its limitation. Similar to labeling Lil’ Wayne a rapper—even “the best rapper alive” as many profess—and leaving it at that, labeling this a great hip hop doc restricts it to the confines of a niche or genre coated in personal taste and stigmas. That is to say The Carter is foremost a fascinating portrait of a remarkable, modern artist and celebrity who has cooked most if not all bridges for comparison.
In The Carter we experience the exact moment when Wayne calmly finds out, overseas and perma-high, that his latest album, Tha Carter III, has sold one million plus physical units in its first week. As his friend and manager, Cortez Bryant, tells the camera, Wayne now undisputedly ranks with the world’s top pop stars; and this doc ranks with the best of the year. It’s also highly difficult to cite precedent for a film so privy to a superstar’s love of, and possible dependency on, drugs. Clearly, the recent, This Is It, failed in this regard.
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