By MCN Editor editor@moviecitynews.com

BREWER’S CAST COMES TOGETHER FOR “FOOTLOOSE”

Posted Tuesday, June 22nd, 2010 - Comments Off on BREWER’S CAST COMES TOGETHER FOR “FOOTLOOSE”
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For Immediate Release
Paramount Pictures Will Release On April 1, 2011
HOLLYWOOD, CA (June 22, 2010) – Adam Goodman, President of Paramount Pictures Film Group, announced today the completion of principle casting on writer / director Craig Brewer’s “Footloose”. Following an extensive worldwide search, newcomer Kenny Wormald will play the highly coveted role of ‘Ren’, opposite previously announced star Julianne Hough as ‘Ariel’. Dennis Quaid also joins the cast in the role of ‘Reverend Moore’, along with Miles Teller as ‘Willard’.
Craig Zadan, who also served as a producer on the original film, joins his longtime creative partner Neil Meron (“Chicago”) and producers Brad Weston and Dylan Sellers (“Agent Cody Banks”) on the remake. OscarÒ winning songwriter Dean Pitchford, who wrote the screenplay and songs for the original movie, will executive produce. Brewer (“Hustle And Flow,” “Black Snake Moan”) will shoot from a script he adapted from Pitchford’s original.


Julianne Hough will make her feature film debut in “Burlesque” in November, opposite Christina Aguilera and Cher, which will also coincide with the release of the two-time “Dancing With the Stars” champion’s second country album. She will co-star alongside newcomer Wormald, who appeared in the MTV series “Dancelife”, and most recently toured with Justin Timberlake. The film will mark the first major U.S. feature film role for the Boston native.
Actor Dennis Quaid, known for his starring roles in countless hit movies including “G.I. Joe: The Rise of Cobra,” “The Day After Tomorrow,” “Traffic,” and most notably for his Golden Globe and SAG nominated role in the acclaimed movie “Far From Heaven”, also joins the cast. The actor most recently starred in the critically praised HBO movie “The Special Relationship”.
Miles Teller, who will next appear in John Cameron Mitchell’s “The Rabbit Hole” starring Nicole Kidman and Aaron Eckhart, will also appear in the film.
The movie will feature choreography from Jamal Sims, who recently worked with Madonna on her Sticky & Sweet Tour. Sims has choreographed countless movies and videos, and will next choreograph the Neil Patrick Harris’ production of the award-winning musical Rent starring Nicole Scherzinger and Vanessa Hudgens, from August 6-8 at the Hollywood Bowl.
“I saw ‘Footloose’ in my hometown theater when I was 13-years-old and it rocked my world. It was a teenage rebellion movie that explored the struggles of faith and family in a small town, and it had an awesome soundtrack. I can promise ‘Footloose’ fans that I will be true to the spirit of the original film. But I still gotta put my own Southern grit into it and kick it into 2011,” said Brewer. “It’s going to be a blast!”
“When we discovered Kevin Bacon in 1984, we were both excited and gratified – and also knew the chances of ever duplicating that effort was a million to one shot. Decades later Kenny Wormald proved history could repeat itself,” said Zadan. “We’ve wanted to work with Brewer ever since we saw ‘Hustle & Flow.’ His fresh and contemporary vision will bring ‘Footloose’ to a whole new generation of moviegoers when the movie opens in 2011.”
ABOUT PARAMOUNT PICTURES CORPORATION
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NYSE: VIA, VIA.B), a leading content company with prominent and respected film, television and digital entertainment brands. The company’s labels include Paramount Pictures, Paramount Vantage, Paramount Classics, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group, and Worldwide Television Distribution.
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon