“Sing hallelujah, come on, get happy… Get ready for the judgment day.”
From acclaimed writer/director/producer Todd Phillips comes “Joker: Folie À Deux,” the much-anticipated follow-up to 2019’s Academy Award-winning “Joker,” which earned more than $1 billion at the global box office and remains the highest-grossing R-rated film of all time.
The new film stars Joaquin Phoenix once again in his Oscar-winning dual role as Arthur Fleck/Joker, opposite Oscar winner Lady Gaga (“A Star Is Born”). “Joker: Folie À Deux” finds Arthur Fleck institutionalized at Arkham awaiting trial for his crimes as Joker. While struggling with his dual identity, Arthur not only stumbles upon true love, but also finds the music that’s always been inside him.
Opening in cinemas on October 4, check out the second trailer for the film.
The film also stars Oscar nominees Brendan Gleeson (“The Banshees of Inisherin”) and Catherine Keener (“Get Out,” “Capote”), alongside Zazie Beetz, reprising her role from “Joker.”
Phillips, who was nominated for Oscars for directing, writing and producing “Joker,” directed “Joker: Folie À Deux” from a screenplay by fellow Oscar nominee Scott Silver & Phillips, based on characters from DC. The film was produced by Phillips, Oscar nominee Emma Tillinger Koskoff and Joseph Garner. Lady Gaga served as music consultant. The film’s executive producers are Michael E. Uslan, Georgia Kacandes, Silver, Mark Friedberg and Jason Ruder.
Working with Phillips behind the camera are his team from “Joker,” including Oscar-nominated director of photography Lawrence Sher, production designer Mark Friedberg, Oscar-nominated editor Jeff Groth, and composer Hildur Guđnadóttir, who won the Oscar for her work on the first film.
New to the team is Oscar-nominated costume designer Arianne Phillips (“Once Upon a Time in… Hollywood,” “Don’t Worry Darling”). Ruder is the film’s executive music producer and the music supervisors are Randall Poster and George Drakoulias. Casting is by Francine Maisler (the “Dune” films, “Challengers”).
Warner Bros. Pictures Presents A Joint Effort Production, A Film by Todd Phillips, “Joker: Folie À Deux.” The film will be released worldwide by Warner Bros. Pictures, and will be only in theaters nationwide on October 4, 2024, and beginning internationally on 2 October, 2024.
Director Todd Phillips has released a first look at JOKER 2 starring Joaquin Phoenix.
The sequel to the successful JOKER film will be released on Oct. 4, 2024. Subtitled Folie à Deux (which translates to “madness shared by two”), Harley Quinn will be played by Lady Gaga.
The JOKER film garnered numerous awards and award nominations across all categories, among them: 11 Academy Award and BAFTA Award nominations—including Best Picture—more than any other film; two Golden Globe and Critics’ Choice Awards wins, and the Golden Lion, the top honor at the Venice Film Festival.
Joaquin Phoenix’s remarkable performance and composer Hildur Guðnadóttir’s haunting score won Oscars for Best Actor and Best Score.
In 2019’s JOKER, forever alone in a crowd, Arthur Fleck seeks connection. Yet, as he trods the sooted Gotham City streets and rides the graffitied mass transit rails of a hostile town teeming with division and dissatisfaction, Arthur wears two masks. One, he paints on for his day job as a clown. The other he can never remove; it’s the guise he projects in a futile attempt to feel he’s a part of the world around him, and not the misunderstood man whom life is repeatedly beating down. Fatherless, Arthur has a fragile mother, arguably his best friend, who nicknamed him Happy, a moniker that’s fostered in Arthur a smile that hides the heartache beneath. But, when bullied by teens on the streets, taunted by suits on the subway, or simply teased by his fellow clowns at work, this social outlier only becomes even more out of sync with everyone around him.
Directed, co-written and produced by Todd Phillips, “Joker” is the filmmaker’s original vision of the infamous DC villain, an origin story infused with, but distinctly outside, the character’s more traditional mythologies. Phillips’ exploration of Arthur Fleck, who is indelibly portrayed by Joaquin Phoenix, is of a man struggling to find his way in Gotham’s fractured society. Longing for any light to shine on him, he tries his hand as a stand-up comic, but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty and, ultimately, betrayal, Arthur makes one bad decision after another that brings about a chain reaction of escalating events in this gritty, allegorical character study.
SPOILER WARNING: The following article contains spoilers for JOKER.
“The mirror is my best friend because when I cry it never laughs.”
-Charlie Chaplin
Mirrors become an essential element in the visual storytelling of JOKER. Working as a clown for hire, Arthur (Joaquin Phoenix) repeatedly stares at himself while applying the makeup for the job. Yet, as the opening scene shows, each time he returns to the mirror, a sad and lonely face stares back. Even before the title character fully becomes the famous Batman villain, Arthur is presented as a man searching for help from others but is ultimately left alone to face his own fate. A tired and gaunt face stares back at Arthur, who struggles with his own identity and the dark thoughts that fill his head. It’s not until he assumes a new identity that he’s comfortable in his own battered and bruised skin. Batman lore has always explored the idea that the Dark Knight wouldn’t exist in a world without the Joker, and vice versa. Yet, writer and director Todd Phillips explores their connection in fascinating ways by taking a new approach to the source material and not just saying that they need each other to survive, but that their stories share several dark parallels.
The Internal Darkness Projected Outward
How JOKER physically manifests mental illness is the most grueling element of the film. Despite talk of its violence, it’s Joaquin Phoenix’s physical performance that causes audiences to squirm in their seats. His gaunt frame becomes a pallet for bruises as the world around him lashes out because of their misunderstanding of his illness. What’s even more excruciating is how the character’s internal madness escapes forth in uncontrollable pain as he tries to stifle his manic laughter. Laughter becomes a coping mechanism when he’s in situations that make him uncomfortable, but it also rears its head at random moments. It becomes Arthur’s worst fear because it’s the one element of his psychosis that he can’t hide from or subdue – he has to face it and learn to accept it.
In the comics, Bruce Wayne eventually turns his greatest fear into his biggest strength. Bruce dons the symbol of the bat because it represents what he was most afraid of as a child. His internal darkness and fear of being alone in a cave are brought forth in his black bat costume. This external release for both characters in order to feel alive is at the center of this version of their origin story. Arthur’s transformation into Joker mirrors the transformation in the comics of Bruce Wayne wearing the cape and cowl. He embraces the laughter by dressing as the one character that consistently causes himself pain and gets him beat up on the street. You have two men, each with multiple personalities that change based on whether they embrace and wear their fear on their sleeve. By accepting what they once saw as their one true weakness, they both head confidently into the night, unafraid of Gotham’s judgment.
We’re Born Alone, We Live Alone, We Die Alone
“For my whole life, I didn’t know I really existed. But I do, and people are starting to notice.” Many have been quick to call out JOKER for speaking to the “angry boy” culture that grew up posting anonymously online and is fueled by Mountain Dew and self-loathing. But lines like the one above aren’t meant to incite fervor in these incels looking to lash out at society who rejected them – it’s meant to mirror the duality of Bruce Wayne and Batman. Bruce Wayne is the billionaire who hides himself away in his large mansion, whose only real friend is the childhood butler who raised him. Even as an adult running Wayne Enterprises, he has always felt alone and never understood by anyone but his childhood guardian. Arthur and the Joker are presented in a similar light in this new origin story. Living and taking care of his mother occupy Arthur’s time when not performing as a clown for hire. Like Alfred, she is the only person he can confide in, even though their relationship often brings out feelings of resentment and mistrust.
Bruce and Arthur are, essentially, both figures of isolation. Despite the fact that one might have more resources than the other, they both seem destined to die alone. They’ve accepted this, and in turn, learn to reject any notion of love. The irony, of course, is that when they go out into the world as their alter-ego that they attract the attention of the media and legions of fans. Adults and kids watch on TV and read in the papers of these figures and become fascinated by them. While both characters have followers and people that look up to them, these fans are essentially both idolizing a masked vigilante operating outside of the establishment. Yet, as is tradition with the male archetype, these legions of fans can not match the acceptance of that between a father and a son. You can have all the praise in the world, but hearing it from your father will mean more. A central plot point in JOKER is Arthur’s search for his father’s identity. It’s this denial of a father-figure in both Bruce Wayne’s and Arthur’s life that is another new parallel in this version of the story.
A Mirror Reflects What You See, and a Black Mirror Shows the Dark Side of It
In a pivotal scene in the middle of the film, Arthur comes face to face with a young Bruce Wayne. He captures the attention of young Bruce through a circus act that involves a red nose and a magic trick. And while the two might be separated by the iron gate of Wayne Manor, they see each other. In fact, Arthur reaches out and touches Bruce’s face and makes him smile. He uses his fingers to create the same forced smile that Arthur did to himself as he looked in the mirror with tears in his eyes at the start of the film. It’s the first time that the hero and the villain of this universe see each other, and in turn, see where they came from and what they will soon become.
This isn’t a gate separating them – it represents the mirror that connects these two lives. In this universe, Batman and Joker aren’t divided into separate sides of the same coin. They are shown to be one, connected by the same fate. This connection is further emphasized if you take into consideration that the Joker’s actions by the end of the film lead to the death of Bruce’s parents. In JOKER, Arthur may have chosen to become the title character – much like Bruce Wayne will eventually choose to become Batman – but despite their personal choices, they will always be linked by a dark parallel destiny and will forever see their nemesis when they look in the mirror.
Fall has finally truly arrived (those 90s temps have at last vacated), so it’s really time to get serious and somber at the multiplex. But, to quote a ’08 classic, “Why so serious?”. After all, there’s often time for a comic book-based cold weather flick. Ah, but this one’s very different from the big action epics from a few months ago. First and second, it’s deadly (accent on the first syllable) dramatic in tone and earns it’s “R” rating. Not the first comic-based flick to do so (hey, LOGAN and DEADPOOL), but this centers on a villain (yes, I know Sony/Marvel gave the “title star” treatment to Spidey’s nemesis VENOM a couple of years ago). Let’s be specific, this is “THE” comic book villain, really the greatest comic baddie of all time, maybe just as popular as his arch-rival. I’d say he ranks right up there with the greatest villains of fiction, earning a place alongside Dr. Fu Manchu, Simon Legree, and Prof. Moriarty. Origin story? Well sorta’. This is definitely a showcase for one of cinema’s most intense, unpredictable actors as he slaps on the white pancake makeup and dons the bright flashy duds of the JOKER.
We first meet Arthur Fleck (Joaquin Phoenix) as he checks in with a disinterested social worker at a dingy, flickering-fluorescent lit downtown office. He’s recently discharged from Arkham Asylum, and has to talk with her before he gets his “meds”. Once he’s done, Art is off to work at a “talent” agency that provides clowns for events and businesses. After applying the “war paint”, he’s twirling a “sale” sign outside a retail shop on the dirty “mean streets” of downtown Gotham City. He’s jumped by some thugs who leave him bruised and battered (physically and emotionally). Art gets himself together for the long bus ride to the cramped apartment he shares with his aging fragile mother Penny (Frances Conroy) in a nearly condemned apartment building. After he feeds and bathes her, it’s time for the pre-bedtime ritual of watching the late-night talk show hosted by Art’s idol Murray Franklin (Robert DeNiro). Art fantasizes about meeting Murray and getting his big break as a stand-up comic (Art carries around a ratty notebook full of “joke idea” scribblings and pasted photos). All the while he wonders why life is such a struggle, while the Wayne family, headed by possible Mayoral candidate Thomas (Brett Cullen), lives in the lap of luxury. Art is finally pushed over the edge after a horrific subway encounter, which also pushes him into the arms of single mother neighbor Sophie (Zazie Beetz). That incident proves to be the spark that lights the fuse on the GC powderkeg of “class injustice”. Soon after this Murray somehow gets a tape of Arthur’s inept stand-up “set” at the comedy club Pogos. Will this be his chance at stardom, or will it be the humiliation that finally shatters Arthur’s damaged psyche? Could his new invented persona of “Joker” erase Arthur Fleck for good?
You could almost call this “The JP Show” since the talented, compelling Mr. Phoenix is in nearly every scene, and is equally sympathetic and repellant. Particularly in the early sequences, Artie seems to be the world’s (or at least Gotham City’s) doormat, soaking up all the ugliness on the bottom of humanity’s feet. We’re supportive as he refuses to take out his many frustrations on his adored mother, holding in the humiliation of his assault on the job. His only escape seems to be his dream relationship with Murray, a father figure who is able to see his “special-ness”. Phoenix brings us in on Arthur’s embarrassment over his unexplained sudden bursts of inappropriate hysterics (that raspy “cackle-laugh” is convincingly grating). And then he “pushes” us away when Arthur begins strolling (eventually running like a cartoon mouse escaping a hungry cat) down a very dark, twisted path. He goes from put-upon “everyman” to vain, uncaring “monster”, eschewing all boundaries of social norms. Phoenix uses his body language to show this inner metamorphosis (supposedly dropping over 50 pounds to get a tangled marionette visage). His voice changes from a low growling “word-swallower” to an agitated scream, often looking as though he’s spitting bile and venom. This just adds to the character’s unpredictability, giving extra heft to his quick bursts of violence. Finally, Phoenix adjusts his posture and delivery to drive home the sense that the poor lil’ guy from that first act is buried by tons of hatred and loathing. Add this towards the top of Phoenix’s already impressive roster of film roles.
The first comic book appearance of “Mr. J” in 1940
But Mr. P does get good support from the stellar cast. There’s a tender rapport between him and Conroy. As Penny, she shows us a weary woman quickly sliding into senility. And her eyes tell us of her conflicted relationship with her son. Penny’s caring and very dependent while trying to hide her fear of her “boy”. DeNiro’s having a good time as the “puffed up” veteran TV comic-host (he’s much better here than in the dreadful THE COMEDIAN), trampling over his staff and recalling a now adored classic flick from his heyday. In a twist on THE KING OF COMEDY, Rupert Pupkin has become the smooth Jerry Langford (Jerry Lewis’s greatest acting gig). Ms. Beetz is a most believable love interest, though her role doesn’t really give her a lot to do (she and Artie share a similar “sick” sense of humor). In a change from previous media incarnations, Cullen gives us a Thomas Wayne who’s a well-dressed, over-privileged thug who throws gasoline on the tiny fires set to turn the city into a cinder. This “politico’ can barely contain his contempt for the underclass, even calling them clowns. And it’s great to see the pairing of two terrific character actors, Shea Whigham and Bill Camp, as a cop duo who seem to be just a step or two behind Arthur. I wished for some more time with them (maybe in some deleted scenes in the home video release).
In a big “switcheroo” from his “raunchy” comedy resume, director Todd (THE HANGOVER trilogy) Phillips, who co-wrote the script with Scott Silver, goes dirty and very downbeat to give us this swift spiral into madness. We can almost smell the stench off the Gotham streets, echoing the “fun city” garbage collector strikes of decades past. Most have mentioned the 70s Martin Scorsese vibe (he was attached for a time as producer), feeling as though the film is the “love child” of TAXI DRIVER and the aforementioned THE KING OF COMEDY, but the film digs deeper into the era with nods to MS. 45, DEATH WISH (though the predators look like they just left the Moves club from the recent HUSTLERS), and THE EXORCIST (some lengthy outdoor concrete stairs are a big backdrop), with a dollop of the more recent FIGHT CLUB and A BEAUTIFUL MIND (you’ll make the connection). It’s gritty and dark thanks to the low lit cinematography from Lawrence Sher. And the art department really gives the talent from ONCE UPON A TIME IN …HOLLYWOOD a “run for their money’ in recreating a decades-old city (LA in 69′ for Tarantino to NYC in the early 80s here). Unfortunately, the film’s pacing could be tighter as Phillips lingers a bit too long on Artie’s mirror-gazing and manic movements (that gallop). But he does have a feel for high drama (though the homages can tend to pile up) and gets good work from all the actors involved. The title character’s chain-smoking becomes tiresome (I was recalling Jerry Lewis in THE FAMILY JEWELS), though many might consider a Marlboro-puffing harlequin “edgy”. This is quite a different “clown prince of crime” than we’ve encountered previously and for fans of 70s cinema and Mr. Phoenix, JOKER is a fatalistic film funhouse. And not a winged rodent in sight.
Warner Bros. Pictures announced today that Joaquin Phoenix will star in an origin story of one of DC’s most notorious Super-Villains, the Joker.
Under the direction of Todd Phillips, the film centers around the iconic arch nemesis and is an original, standalone story not seen before on the big screen. Phillips’ exploration of a man disregarded by society is not only a gritty character study, but also a broader cautionary tale.
Phillips will direct from a screenplay he co-wrote with writer Scott Silver (“The Fighter”). The film will be produced by Emma Tillinger Koskoff and executive produced by Richard Baratta. The film begins production later this year.
One of today’s most versatile actors, Phoenix has been honored with three Oscar nominations, for his work in Paul Thomas Anderson’s “The Master,” James Mangold’s “Walk the Line,” in which he starred as Johnny Cash, and Ridley Scott’s “Gladiator.” He won Best Actor at the Cannes Film Festival in 2017 for Lynne Ramsey’s “You Were Never Really Here,” and has also earned acclaim for his work in numerous films, including Spike Jonze’s “Her.” His most recent film, Gus Van Sant’s “Don’t Worry, He Won’t Get Far on Foot,” premiered at Sundance this year.
The film will be distributed worldwide by Warner Bros. Pictures.
The kids are heading back to school, it’s getting a touch cooler (the multiplex is still a great place to beat the heat), the superheroes have packed it in (for a couple of months), so are we ready to return to the Middle East, or at least the big conflicts in the sand? That’s how we started out the year, with Michael Bay’s Benghazi docudrama. Well, there were two little films that followed, set in that hostile local. Two “dramadies”, one fact, the other fiction, to be precise. Tom Hanks was a “fish-out-of-water” in HOLOGRAM FOR THE KING, while Tina Fey was a TV news reporter (based on a real person) in WHISKEY TANGO FOXTROT. Yes, this new flick is a comedy, or at least that’s what the near constant onslaught of trailers and TV spots have been hammering home for the last several months. Hey, it’s from the director of the HANGOVER trilogy and it stars a full-fledged member of Judd Apatow’s ensemble. Now to be fair, the Middle East isn’t the only global territory that’s “marked” by these two self titled WAR DOGS. They’re bouncing across the globe, but we first meet one of them in…
Albania, around ten years ago, and David Packouz (Miles Teller) is having the worst morning of his life. Just how did he get in this spot? Well, we’ll need to flash back a few years to the Miami area. David’s barely making ends meet as a personal masseuse, schlepping his foldable cot back and forth to the homes of the wealthy. He’s ambitious, so he buys high-quality wholesale bed sheets and blankets, thinking he can sell them to the many retirement centers. This plan is a bust and the apartment he shares with his gorgeous gal Iz (Ana de Armas) is clogged with cases of the stuff. Then, at the funeral for an old school chum, Dave re-connects with an old pal, Efraim Diveroli (Joanh Hill), who is living the high life, having made a fortune selling high powered weaponry on-line. But now Efraim hopes to become a major player, thanks to the conflict in Iraq. After the scandals over “no bid” arms deals, the doors have been opened to all military suppliers, thanks to a government website listing all weapons needs and entertaining bids from anyone. Efraim offers to make David a partner. When Iz becomes pregnant, David accepts, but he lies to her about the new job, since Iz despises war. Their company, “AEY” scores it first big sale, a huge shipment of Beretta handguns to Iraq. When local laws strand the guns in Jordan, they guys fly in and personally transport the guns via a beaten-up truck to its destination (at great, great peril). They’re ready for a much bigger deal when AEY lands a 300 million dollar contract to outfit the new Afghan army. Efraim and David head to the big arms show in Vegas to find a supplier. They get more than they bargained for when David runs into the shadowy (he’s on the “watch list”) arms dealing legend Henry Girard (Bradley Cooper). He agrees to broker a sale with the government of Albania. They need to quickly unload literally tons of weapons and ammo. After traveling there, the guys believe everything’s on the “up and up”. Of course, many problems arise, needing David to stay there to supervise, leading to that awful morning in the first scene. Are these twenty-something hot shots in way over their heads?
Teller gives another complex performance in a worthy addition to his impressive resume (THE SPECTACULAR NOW, WHIPLASH). He brings an everyman vulnerability to Packouz. He’s a decent person, who chooses the wrong path, that of quick returns reaped from the misery of others. Teller shows us that David is keenly aware of the danger that awaits each step forward, a man full of regret and guilt over deceiving his love. He’s truly conflicted, unlike his partner Efraim, played as an uncontrollable force of nature by the energetic Hill. We think that this role will be one of his blustery buffoons, but Hill surprises us by going into very dark territory. Efraim creates a doppelgänger to seduce every new “mark”, but once the cash and drugs are flowing, his inner demons of greed and paranoia are unleashed. He’ll turn on anyone within striking range. In a terrific supporting performance, Cooper also flips his charming screen persona on its ear, with this true “lord of darkness”, digging his claws into the brash duo, and dragging them down into the fiery pits. Hiding behind massive, tinted glasses. Cooper’s Girard is cold, dead-eyed evil incarnate, a ghost suddenly materializing to wreak havoc. Kudos to de Armas for making Iz the strong-willed conscience of David, and to the ever-dependable Kevin Pollak as Efraim’s affable, clueless investor.
And bravo to director/ co-writer Todd Phillips for leaving the cinematic “comfort zone” of gross-out, hard-partying comedies, to deliver a film with a stinging satiric edge, one with an unapologetic political slant. In the film’s opening segment he fires his own “hypocracy-seeking” movie missile at Washington’s power players (and one recent presidency) with the clever use of graphics showing us a solider’s cost with price tags over every set of “boots on the ground”. Yes, he does overuse the freeze frame effect for emphasis and the chapter titles using bits of dialogue can be cloying and clumsy. And while we’re at it, the slo-mo shots of smoking (look at that big bong!) and snorting could be severely trimmed back (they like their weed, we get it!). But the film truly skewers those in charge thanks to the razor-sharp script Phillips co-wrote with Stephen Chin and Jason Smilovic based on a Rolling Stone article by Guy Lawson. While the David/Iz story might seem a distracting subplot (like those couples helped out by the trio in the MGM Marx Brothers flicks), Phillips uses the scenes to show the devastating cost of David’s descent. Cinematographer also turns in excellent work, giving each locale its own color palette: the Middle East is rust and orange-tinted sand, while Albania is a soggy blue. This flick, much like the recent GHOSTBUSTERS reboot, is another example of a film ill-served by its marketers. The trailers were selling a wacky, zany “bro-mance”, but WAR DOGS is a tough look at those real animals who would profit from tragedy. 3.5 Out of 5
From director Todd Phillips (“The Hangover” trilogy) comes the action comedy WAR DOGS starring Oscar nominee Jonah Hill (“The Wolf of Wall Street,” “Moneyball”) and Miles Teller (“Whiplash,” the “Divergent” trilogy).
Based on a true story, WAR DOGS follows two friends in their early 20s (Hill and Teller) living in Miami during the first Iraq War who exploit a little-known government initiative that allows small businesses to bid on U.S. Military contracts. Starting small, they begin raking in big money and are living the high life. But the pair gets in over their heads when they land a 300 million dollar deal to arm the Afghan Military – a deal that puts them in business with some very shady people, not the least of which turns out to be the U.S. Government.
The film also stars Ana de Armas (“Knock Knock”) and Oscar nominee Bradley Cooper (“American Sniper,” “American Hustle”).
The screenplay is by Stephen Chin and Todd Phillips & Jason Smilovic, based on the Rolling Stone article titled “Arms and the Dudes,” by Guy Lawson. Mark Gordon (“Steve Jobs”), Todd Phillips and Bradley Cooper are the producers, with David Siegel and Bryan Zuriff serving as executive producers.
WAR DOGS reunites Phillips with several of his collaborators from “The Hangover” trilogy, including director of photography Lawrence Sher, production designer Bill Brzeski and editor Jeff Groth. Joining the team is costume designer Michael Kaplan (“Star Trek,” “Star Trek: Into Darkness”). The music is by Cliff Martinez (“Drive,” “Traffic”).
Slated for release on August 19, 2016, the film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
Principal photography is underway on Warner Bros. Pictures’ ARMS & THE DUDES, starring Oscar nominee Jonah Hill (“The Wolf of Wall Street,” “Moneyball”) and Miles Teller (“Whiplash”).
“The Hangover” trilogy director and Oscar nominee Todd Phillips (“Borat” screenplay) is directing the film.
Based on a true story, ARMS & THE DUDES follows two friends in their early 20s (Hill and Teller) living in Miami during the Iraq War who exploit a little-known government initiative that allows small businesses to bid on U.S. Military contracts. Starting small, they begin raking in big money and are living the high life. But the pair gets in over their heads when they land a $300 million deal to arm the Afghan Military—a deal that puts them in business with some very shady people, not the least of which turns out to be the U.S. Government.
Phillips directs from a screenplay he co-wrote with Jason Smilovic (“Lucky Number Slevin”), and Stephen C. Chin (“Another Day in Paradise”), based on the Rolling Stone article by Guy Lawson.
Todd Phillips and Bradley Cooper, under the banner of their 22nd & Green Productions, and Mark Gordon, under the banner of The Mark Gordon Company, are producing the film. The executive producers are David Siegel and Bryan Zuriff.
Filming began on location in Romania, and shooting is also being accomplished in Las Vegas, Southern California, Miami, and in Morocco.
ARMS & THE DUDES reunites Phillips with several of his collaborators from “The Hangover” trilogy, including director of photography Lawrence Sher, production designer Bill Brzeski and editor Jeff Groth. Joining the team is costume designer Michael Kaplan (“Star Trek,” “Star Trek: Into Darkness”).
The film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment company.
Longtime friends and collaborators Todd Phillips and Bradley Cooper have formed a production company as producing partners and signed a three-year, first-look production agreement with Warner Bros. Pictures, it was announced today by Greg Silverman, President, Creative Development and Worldwide Production, Warner Bros. Pictures.
“Todd and Bradley have deep personal ties throughout the Studio and we couldn’t be more pleased that they are combining their immense talents into what promises to be one formidable production company,” said Silverman. “The entire Warner Bros. family is excited about the great movies we know will come from this collaboration of two highly successful and original filmmakers.”
“Todd is one of the smartest, coolest guys I know,” said Cooper. “He also happens to be one of the best filmmakers in the business, and I am honored and excited to be his partner.”
“Bradley is a tremendous talent and one of my closest friends,” said Phillips. “He is the hardest working guy I know and truly loves all aspects of filmmaking. The pairing of his intense focus and my good looks should make for some fun, and hopefully compelling, projects. I look forward to causing some trouble with him.”
The first collaboration under the new banner will be ARMS & THE DUDES, which is Phillips’ next project to direct. The film is based on a Rolling Stone article written by Guy Lawson that chronicles the true story of two stoner kids from Miami Beach who wound up becoming big-time arms dealers for the U.S. government, eventually landing a $300 million contract that got them in way over their heads.
Cooper, who became well known from THE HANGOVER franchise, has since been nominated for Academy Awards® for his work in “Silver Linings Playbook” and “American Hustle.” He formed 22nd & Indiana Pictures and partnered with Warner Bros. in a two-year development deal in 2012.
One of the first projects Cooper acquired under the 22nd & Indiana banner was AMERICAN SNIPER, an adaptation of the autobiography of Navy SEAL Chris Kyle. Cooper is producing and starring in the film, which is currently shooting in Morocco and Los Angeles, under the direction of Clint Eastwood.
Phillips’ Green Hat Films has been based at Warner Bros. since 2005. The first film under the Green Hat banner was “The Hangover,” which grossed $469.2 million worldwide, and still ranks, domestically, as the highest grossing R-rated comedy ever. The sequel, “The Hangover Part II,” surpassed its predecessor, grossing $587.2 million worldwide. Collectively, “The Hangover” trilogy has grossed over $1.4 billion globally. Phillips also produced and directed “Due Date” for the studio in 2010 and produced “Project X” in 2012.
Who’s game again for one last wild ride with Bradley Cooper, Ed Helms and Zach Galifianakis? Well the Wolfpack is hitting the road again and this time all bets are off. Principal photography is underway on Warner Bros. Pictures’ and Legendary Pictures’ THE HANGOVER PART III, the third and final film in director Todd Phillips’ record-shattering comedy franchise. This time, there’s no wedding. No bachelor party. What could go wrong, right? Famous last words.
THE HANGOVER PART III reunites Bradley Cooper, Ed Helms, Zach Galifianakis and Justin Bartha as Phil, Stu, Alan and Doug. Returning to the ensemble are Ken Jeong, Heather Graham, Jeffrey Tambor and, as the guys’ long-suffering wives, Gillian Vigman, Sasha Barrese and Jamie Chung. John Goodman joins the cast as well.
Phillips directs from a screenplay he wrote with Craig Mazin, who also collaborated with him on the screenplay for THE HANGOVER PART II. Phillips is producing the film under his Green Hat Films banner, together with Dan Goldberg. Thomas Tull, Scott Budnick, Chris Bender and J.C. Spink are the executive producers.
Also back for another round are Phillips’ behind-the-scenes creative team from the first two films: director of photography Lawrence Sher, editor Debra Neil-Fisher and costume designer Louise Mingenbach. They are joined by production designer Maher Ahmad (upcoming “Gangster Squad”) and editor Jeff Groth (“Project X”).
A presentation of Warner Bros. Pictures, in association with Legendary Pictures, THE HANGOVER PART III is scheduled for release on May 24, 2013, and will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.
For a refresher course, check out the trailers for the first two films.
