Could Taylor Swift Star in Beloved Whitney Houston Movie Remake?
A major movie remake of a beloved classic film could have interesting casting.
Although casting is not set, a key staffing move is getting Taylor Swift's name mentioned in connection with the project.
The movie is The Bodyguard, which was a romantic thriller that starred Kevin Costner and Whitney Houston in 1992. Costner played the bodyguard of Houston, a singer. The role would seem to be tailor-made for a singer like Swift.
"Beyond Swift, there are many singers who could play the singing star that this should be a magnet for an exciting cast," Deadline noted, however.
Now Sam Wrench, who is the director of Taylor Swift: The Eras Tour, has been chosen to direct a remake of The Bodyguard. The script is being written by Jonathan A. Abrams, who wrote the movie Juror No. 2, according to Deadline.
According to Deadline, the Taylor Swift: The Eras Tour movie that Wrench directed was a "concert movie spawned from Swift's historic almost two-year-long global tour." The movie "grossed $261.7 million worldwide," Deadline reported.
Variety noted that the original Bodyguard movie "has what is considered the bestselling movie soundtrack of all time, with several chart-topping original songs from Houston," who was at the height of her fame when she filmed it.
"I don't think the job of a concert filmmaker is there to try and portray something that didn't happen or to give it an energy that isn't there," Wrench told Variety.
"When the music is the king, the music is the thing you follow and you let that kind of dictate everything. But honestly, my job was fairly easy. It's such a great concert. Everyone enjoyed it. We pointed some cameras, and here we are," he added.
The original Bodyguard also received two Oscar nominations for songs, according to Variety.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
7 hours ago
- Yahoo
Morgan Wallen sets negative headlines ablaze during 'I'm the Problem' tour opener
Morgan Wallen marked the opening night of his "I'm The Problem" Tour with a fiery performance at NRG Stadium in Houston, Texas, including what seemed to be his reaction to recent news headlines. According to multiple videos from fans in attendance at the June 20 concert, Wallen displayed a montage of negative headlines − including one that read "Morgan Wallen breaks COVID mask protocols" − during his performance of "I'm the Problem." After the song's performance, Wallen appeared to pour gasoline on the stage and then picked up a lighter, cueing a pyrotechnic show. "You say I'll never change, I'm just a go around town with some gasoline," Wallen sings during the opening lyrics of the song. "Just tryin' to bum a flame, gonna burn the whole place down." Wallen posted an Instagram video walking out before the concert with retired NFL legend Andre Johnson of the Houston Texans. USA TODAY reached out to reps for Wallen and NRG Stadium for comment. "Morgan Wallen burns the place down while bringing the receipts," wrote one X user. Another user on TikTok wrote, "Morgan Wallen claps back at all the negative headlines and sets the stage on 'fire.'" Wallen has spent his fair share of time in the headlines. Earlier this year, he caused quite a stir by making an early exit from "Saturday Night Live" during a March episode of the NBC sketch series. In an unusual moment, he hugged Oscar-winning host Mikey Madison during the signoff before walking off stage and then taking to his Instagram stories to post a photo of a plane and wrote, "Get me to God's country." Morgan Wallen teases new album 'I'm The Problem' and announces 2025 tour The walk-off moment sparked a wave of criticism for the "Just In Case" hitmaker, who pleaded guilty last year to misdemeanor reckless endangerment after throwing a chair off the roof of a bar. In 2020, Wallen was uninvited from "SNL" after videos surfaced that showed him partying without a mask amid the COVID-19 pandemic. The next year, he shocked the music industry when he was captured on tape in a TMZ video using a derogatory racial slur commonly used to describe Black people. The "Kick Myself" singer will also perform Saturday, June 21. Wallen's tour is named after his fourth studio album, in its fourth week at No. 1 on the Billboard 200 top albums chart. His previous album, "One Thing at a Time," spent 19 weeks at No. 1 — the most weeks any country album has ever logged at No. 1. "One Thing" followed "Dangerous," which spent 10 weeks at No. 1 on its way to becoming Billboard's most successful album of the century so far. Contributing: Brendan Morrow, USA TODAY; Ed Masley, The Arizona Republic This article originally appeared on USA TODAY: Morgan Wallen sets 'I'm the Problem' tour on fire, addresses backlash


San Francisco Chronicle
8 hours ago
- San Francisco Chronicle
The finale after the finale: S.F. Symphony Chorus shines in Verdi's Requiem
Like a baseball game rescheduled after a rainout, there was one more concert on the San Francisco Symphony's season calendar after last week's grand finale with outgoing Music Director Esa-Pekka Salonen. The orchestra staged its makeup performance of Verdi's Requiem on Friday, June 20, a concert that was canceled during the Symphony Chorus' strike in September last year. James Gaffigan generously stepped in to conduct the work, which Salonen would have led in the fall. The program is slated to be repeated on Sunday, June 22, at Davies Symphony Hall. After its extraordinary contributions to Salonen's farewell performance of Gustav Mahler's Symphony No. 2, the Chorus showed it was worth every penny of the anonymous $4 million gift made in the months following the strike. The singers came to the fore not just in the 90-minute Requiem, normally programmed by itself, but in a first part that included three choral pieces by Gordon Getty, himself a generous donor to the Symphony (and a co-founder of San Francisco Classical Voice). Getty's works are genial, melodic and accessible, and Gaffigan, a friend of the composer, led them deftly and with evident care. The Intermezzo from Getty's 2017 opera 'Goodbye, Mr. Chips' begins delicately, with spare lines in the marimba giving way to the harp, then acquiring a more definitive melodic profile in the strings. It's a meditative piece that finds an unexpected climax when the choristers interject a school hymn, almost as if overhead from afar. The Chorus also gave fine performances of 'Saint Christopher' (2024), which features effective writing for voices, and 'The Old Man in the Snow' (2020), a more substantial work in several sections that Getty skillfully sets apart with different instrumentation, including a trombone choir, keyboards and mallet percussion. If the performance of the piece as a whole lacked finesse, their contributions were nonetheless stellar. The singing was artful, from the opening 'Requiem aeternam,' with the sound humming in the air through the nasal consonants, to the explosive 'Dies irae' and the stentorian 'Rex tremendae.' The women made a luminous entrance in the 'Lacrimosa' at the line 'Huic ergo parce, Deus' (Therefore spare him, O Lord), and the whole chorus concluded with the fearful declamation and hortatory final fugue of the 'Libera me.' The singers encompassed the range of Verdi's writing in finely balanced sound that pulled emotion from every chord change. Gaffigan's conducting, however, emphasized drive and the titanic climaxes while shorting the Requiem's poetic side. Certainly, this is a public religious work, conceived as a memorial to Italian art — first to the composer Gioachino Rossini and then, when that initial plan fell through, to author Alessandro Manzoni. But it's not only theatrical. This interpretation was driven by inflexible tempos and a sameness to all of the climaxes and fortissimo outbursts that ultimately became wearing. Though the orchestra played well, earning deserved applause, the performance was missing a sense of transcendence and the overarching struggle of mourning and fear giving way to tranquility and acceptance. The soloists — soprano Rachel Willis-Sørenson, mezzo-soprano Jamie Barton, tenor Mario Chang and bass Morris Robinson — were generally excellent. The notable exception was Chang's effortful 'Ingemisco' prayer, sung without any bloom in the tone and generally unresonant and unconvincing. The violins joined Willis-Sørenson in a moving 'Sed signifer sanctus Michael' (Let the standard-bearer holy Michael), the soprano singing sweetly in one of the score's many standout lyrical moments. If there had been more of those, this Requiem would have been even better.


Buzz Feed
10 hours ago
- Buzz Feed
Bad Bunny Says It Is Silly To Complain About His Job
It's fair to say that Bad Bunny is one of the hardest-working music artists in the game right now. Benito Antonio Martínez Ocasio went from the barrio to the Billboard charts, becoming one of the first Latin artists to sell out stadiums around the world, even breaking the record for most tickets ever sold in Spain (he's set to perform 12 shows there on his upcoming tour). In a June 18 interview with Variety, the Puerto Rican superstar spoke to his work ethic as a music artist and celebrity. When his comments went viral, the fans were eating it up just as much as his boricua beats. In the interview, discussing his upcoming residency and tour surrounding his sixth studio album, Debí Tirar Más Fotos, Benito got real about what's expected of him as he embarks on one of the biggest tours of his career. "At times, I do think, cabrón, what I'm signing up for is a lot," he said. For context, Benito is set to perform a 30-night residency at the Colseo de Puerto Rico in San Juan, not too far from where he grew up from July 11 to Sept. 14, and then he's going on a 56-date world stadium tour from November 2025 to July 2026. Basically, he's booked and busy. "But the way I see it, I'm not a doctor; I'm not a teacher; I'm not someone who has to wake up every morning at 5 a.m. to lay down concrete on a busy road to survive," Benito continued. "My job is to fucking sing, and even though it comes with its own set of sacrifices, it feels silly to complain about it." When Benito's comments on the pressure of fame started to make their rounds on the internet, like in this Reddit thread, a lot of people had something to say about it, many praising the three-time Grammy winner for his honesty. Here are some of my favorite comments. "He's a man who got famous as an adult and has managed to become the hometown hero of Puerto Rico, which he obviously put in the work to deserve. It's not necessarily easy to handle, but you can compare that to what a lot of women and people who start as child stars go through. Good for him that he feels this way about it, but I'm not shocked that it's not a common perspective. If he can avoid the toxicity of overwhelming greed and not chase being a billionaire or whatever, he might actually stay happy," a Reddit user shared. Another Reddit user said, "Finally someone with some common sense. I'm so tired of celebs complaining how hard their job is, having never worked a real job in their lives. Like, sure, the pressure must be a lot and paparazzi and public scrutiny, but that's nothing compared to some annoying boomer manager breathing down your neck 24/7 or a customer having a screaming meltdown over a difference of 28 cents or cleaning up vomit, etc." "I appreciate the humility but the more artists downplay the work they put in the more the public does as well. EVERY job has pros and cons so please remember that. He is lucky to have the job he has but it's not like many of them don't work hard for it. 💙" X user wrote. This Reddit user wrote, "He has the right attitude and a healthy perspective." "Good way of putting it, everything is relative and even with fame and money and privilege you can still stress and be sad and be overwhelmed at times, but still understand and be grateful for what you have," another X user wrote. "I truly wish more celebrities and influencers had enough self-awareness to realize that publicly whining about their privileged lives doesn't hit the way they think it does," another Reddit user added. Finally, this Reddit user said, "It doesn't even sound like he's saying that as a performer you can't have bad days or struggle in/with your career, it more so sounds like he simply thinks it's in poor taste to publicly lament about how hard you have it since it's a highly privileged profession." What do you think about Bad Bunny's take on the pressures of being a famous singer? Let's talk about it in the comments.