Latest news with #OneFlewOvertheCuckoo'sNest
Metro
2 days ago
- Entertainment
- Metro
Steven Spielberg admits he was ‘disappointed' by snubbing for his biggest film
Steven Spielberg has shared his surprise over being snubbed at the Oscars for one of his most iconic films. The 78-year-old has been behind huge hits over his decades-long career, including ET, Raiders of the Lost Ark, Jurassic Park, Catch Me If You Can and Minority Report. He has also won the best director statue at the Oscars twice over the years – for Saving Private Ryan and Schindler's List – but revealed his disappointment over not even landing a nomination for his efforts on 1975 flick Jaws, almost 50 years ago. In a new documentary to celebrate the legendary shark thriller's 50th anniversary, on June 20, he spoke candidly about the expectation that the movie would sweep awards season. 'When a film is on the cusp of being considered for awards, it's not so much what you want for yourself — it's what everyone else says is going to happen for you,' he declared, via People Magazine. 'So I just understood, 'I guess I'm getting nominated.' 'So when I wasn't, I was surprised. And I was disappointed. 'Because I was believing the noise, and you have to not believe that stuff.' Although Steven wasn't mentioned in the best director category, Jaws did land four nominations at the ceremony in 1976, and took home three of those. Jaws missed out on best picture to One Flew Over the Cuckoo's Nest but John Williams took home the trophy for best original score, while the team also nabbed best sound and best film editing. Despite not winning every category that year, the filmmaker conceded: 'Oh yeah, I would've One Flew Over the Cuckoo's Nest for best picture over Jaws. I would've done that.' In Jaws, Steven directed a star-studded cast led by Roy Scheider, Richard Dreyfuss and Robert Shaw, as a team on the hunt for a terrifying great white shark after it attacked beachgoers. To celebrate the milestone anniversary, the film has been dissected for a new National Geographic special, titled Jaws @ 50: The Definitive Inside Story, which will premiere on July 10. More Trending It has grossed more than $475million worldwide, and has gone down as one of the biggest blockbusters of all time. However, during a 2022 appearance on BBC Radio 4's Desert Island Discs, Steven explained that he actually fears sharks are still 'mad at him' over the frenzied reaction to the release. 'That's one of the things I still fear,' he told the host. 'Not to get eaten by a shark, but that sharks are somehow mad at me for the feeding frenzy of crazy sports fishermen that happened after 1975. 'I truly and to this day regret the decimation of the shark population because of the book and the film. I really, truly regret that.' Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Monty Python star, 82, reveals he went to hospital 'twice in three days' MORE: Disappointed fans fume star-studded new rom-com is 'not what was advertised' MORE: M3GAN 2.0 risks crossing 'really fine line' with explicit jokes
Los Angeles Times
13-06-2025
- Entertainment
- Los Angeles Times
A new look at ‘One Flew Over the Cuckoo's Nest' plus the week's best movies in L.A.
Hello! I'm Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies. Among this week's new releases is 'Materialists,' a romantic dramedy starring Dakota Johnson, Chris Evans and Pedro Pascal, written and directed by Celine Song, whose debut, 'Past Lives,' was nominated for two Oscars, including best picture. Johnson's beguiling screen presence, her languidly charged charisma, is put to full use as a professional matchmaker in NYC who finds her own cold calculations challenged when she finds herself struggling to decide between a wealthy, perfect-on-paper finance guy (Pascal) and a perpetually struggling actor ex-boyfriend (Evans). I interviewed Song and Johnson together recently, talking to them about how the film is both a sleek and glossy modern take on the rom-com and also an interrogation of the form and what people want from romance. 'We're not just showing up here to be in love and beautiful and get to be in a rom-com,' says Song. 'We're also going to take this opportunity to talk about something. Because that's the power of the genre. Our favorite rom-coms are the ones where we get to start a conversation about something.' For her part, Johnson has turned down many rom-com roles in the past, but found something different in Song's screenplay. 'The complexities of all of the characters,' Johnson said of what made the project stand out. 'The paradox. Everyone being confused about what the f— they're supposed to do with their hearts. And what's the right move? I found that very honest and I found it just so relatable.' Amy Nicholson opens her review by focusing on the film's lead, writing, 'Dakota Johnson is my favorite seductress, a femme fatale of a flavor that didn't exist until she invented it. … Onscreen, she excels at playing skeptics who are privately amused by the shenanigans of attaching yourself to another person. She shrugs to conquer. Which makes Johnson the perfect avatar for a time when it's hard to commit or keep swiping right.' On Friday the Academy Museum will present the North American premiere of a new 4K restoration of Milos Forman's 1975 'One Flew Over the Cuckoo's Nest.' The film won five Oscars, including best picture, director and actor, and the screening will include a conversation with editors Richard Chew and Lynzee Klingman, speaking with Larry Karaszewski. Based on the novel by Ken Kesey, the film tells the story of Randle McMurphy (Nicholson), who is committed to a mental institution instead of serving a prison sentence. McMurphy's rebellious, anti-authoritarian spirit upends the strict order of the facility maintained by Nurse Ratched (Louise Fletcher, who also won an Oscar for her performance), as he comes to connect with some of the other inmates, many of whom are there voluntarily. The Times' original review at the time said that the film 'is calculated to restore your faith in the discipline and the emotional effectiveness of inspired fine moviemaking.' A February 1976 profile of Forman by Fiona Lewis found the filmmaker, already a two-time Academy Award nominee for his films made in Czechoslovakia, in a rented house in the Hollywood Hills anxiously awaiting the impending Oscar nominations. 'All these events, like film festivals and Oscars — it's foolish to compare if this film is better than that film,' Forman said. 'But on the other hand, why not? It's like my child is the most beautiful in the world and the girl I love the best.' The Acropolis Cinema screening series begins a retrospective of the Italian-born, U.S.-based filmmaker Roberto Minervini Friday night with the Los Angeles premiere of his 2024 film 'The Damned' at 2220 Arts + Archives. The filmmaker will be there for a Q&A moderated by 'Eephus' director Carson Lund. Minervini won the directing prize in the Un Certain Regard section of the 2024 Cannes Film Festival for the movie, which follows a company of volunteer U.S. soldiers in the Civil War as they are sent to patrol a remote borderland. 'The Damned' will also open at the Laemmle Royal on the June 20. Minervini will be present for a screening at Brain Dead Studios on Saturday for the world premiere of a new restoration of his 2011 debut feature 'The Passage.' Critic Peter Debruge will moderate the Q&A. Then on Sunday, Minervini will be present for a Q&A moderated by critic Tim Grierson following a 10th anniversary screening of 'The Other Side' at 2220 Arts + Archive. On June 23, there will also be a screening of Minervini's 2018 film 'What You Gonna Do When the World's On Fire?' back at Brain Dead Studios. 'Bring It On' 25th anniversary in 35mm Following the recent screening of Sofia Coppola's 'The Virgin Suicides,' the Academy Museum will present another pivotal film in the career of Kirsten Dunst: a 25th anniversary 35mm screening of Peyton Reed's 'Bring It On.' Actors Jesse Bradford and Brandi Williams will be present for the event as well. Displaying Dunst's range, she stars as Torrance Shipman, the new captain of the cheerleading squad at her affluent suburban California high school. Torrance discovers that their championship routines have been stolen from the squad of a less privileged all-Black school. Reed, who went on to direct 'Down With Love,' 'The Break-Up' and Marvel's 'Ant-Man' movies, deftly balances teen comedy, emotional nuance and social satire with a spirited energy. After calling it 'a smart and sassy high school movie that's fun for all ages' in his original review, Kevin Thomas noted how the film 'has a light satirical touch, works up lots of laughter, but is not heavy-handed about Torrance and her squad taking cheerleading so seriously. Rather than lament how winning a cheerleading trophy seems vastly more important to the squad members than getting the grades that will get them into college, [screenwriter Jessica] Bendinger and Reed instead show us the likable Torrance and her pals receiving some unexpected life lessons.' 'Christiane F.' 4K restoration On Friday, the American Cinematheque will launch a limited run of the new 4K restoration of Uli Edel's 1981 'Christiane F.' Based on a nonfiction book, the story depicts a teenage girl, Christiane (Natja Brunkhorst), in West Berlin who falls in with a crowd of kids who introduce her to using hard drugs and she soon becomes a heroin addict, living a hardscrabble life on the streets. Featuring music by David Bowie, the film also includes a live performance by Bowie of the song 'Station to Station.' In a February 1982 review, Kevin Thomas wrote, 'The makers of 'Christiane F.' apparently feel that it is sufficient to dramatize this hellish odyssey with the utmost realism, sparing us nothing, not the sickness, the brutality, the pain or the sheer sleaziness of their existence. But it isn't, because they don't reveal anything that many adults and teens don't know well. … [The filmmakers] go for an unremitting grittiness so as not to seem unduly sensational or exploitative in the telling of Christiane's story.' 'Cobra Woman' in 35mm On Saturday afternoon at the Los Feliz 3, the American Cinematheque will present a 35mm screening of Robert Siodmak's 1944 beloved cult object 'Cobra Woman,' starring Maria Montez, Jon Hall and Sabu in a tale of twin sisters, kidnapping and a remote island paradise. Author Alonso Duralde will be on hand to introduce the film and do a signing for his new book 'Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film.' In a program note for the screening, Duralde noted Susan Sontag's influential essay 'Notes on Camp,' adding 'for a look at 'pure camp,' there's no better place to start than the 1944 Maria Montez vehicle 'Cobra Woman,' a deliciously over-the-top exercise in exotica, colonial fetishization and general absurdity. (The trailer calls it 'A Pagan Sensation!') Montez stars as twin princesses — one good, one evil, both in love with strapping Jon Hall — in a tale that incorporates volcanoes, blowguns, Sabu, a forbidden dance of the snakes and a valuable stone that Montez memorably calls the 'Cobra jool.'' The film was also said to be the favorite of filmmaker Kenneth Anger. A February 1944 Los Angeles Times column by Hedda Hopper explored how Montez pursued stardom with shrewdly calculated verve, writing, 'Outstanding among today's feminine stars who have projected their personalities — and persons — to fullest advantage is Maria Montez. Two years ago this Latin-American bundle of nerve and determination struck Hollywood like a one-woman avalanche, announcing to Universal that she would be satisfied with nothing short of top-flight stardom and swamping the studio's production office with demands for starring roles.' 'Naked Lunch' with Peter Weller On Monday, Vidiots will show David Cronenberg's 1991 adaptation of William S. Burroughs' 'Naked Lunch' in 4K with star Peter Weller in attendance to sign his new book 'Leon Battista Alberti in Exile.' Rather than strictly adapt the book itself, Cronenberg used fragments and shards of its story and Burroughs' own biography to craft a phantasmagorical take on the novel's own creation: An exterminator, Bill Lee (Weller), flees New York for the Interzone after he accidentally shoots his wife (Judy Davis) and sets himself to writing. In a review from December 1991, Peter Rainer wrote, 'There are enough references to the novel, enough episodes and characters, to provide a glancing resemblance to the original. But mostly, Cronenberg jacks up his own career-long obsessions with glop and grunge and decay to fever pitch. It's a movie for people who really dig Cronenberg's mulchy fixations — and probably for no one else. … The ambi-sexual atmosphere carries a demonic charge that approximates Burroughs but, for the most part, Cronenberg was a lot closer to the Burroughs ethos in a film like 'Videodrome' than he is here.' In a June 1992 profile of Cronenberg by Gene Seymour, the filmmaker, then 47, spoke about how he approached adapting a book many assumed to be unadaptable. 'I do think it's paradoxical but true that, in order to be faithful to the book, you have to throw the book away,' said Cronenberg. 'You have to betray it in order to re-create it for the screen. All the attempts I've seen of trying to be literally faithful to the book have been dismal failures and the reason is only that the two media are totally, totally different. Maybe it's because I'm really ruthless. And totally arrogant.' In a statement, Burroughs himself said, 'I felt, and still feel, that David's script is very true to his own Muse as a filmmaker, very consistent with the high level of artistry for which he is known.'
Chicago Tribune
13-06-2025
- Entertainment
- Chicago Tribune
Amy Morton is back on stage in ‘You Will Get Sick' at Steppenwolf Theatre. What took her so long?
Few actors in Chicago theater history command the respect afforded to Amy Morton. Her history goes back to the long-defunct Remains Theatre but is dominated by her decades of work with the Steppenwolf Theatre Company, including playing Nurse Ratched in 2000 in Chicago and then on Broadway in 'One Flew Over the Cuckoo's Nest' opposite Gary Sinise; the lead role of Barbara in Tracy Letts' 'August: Osage County,' which played from 2007 to 2009 in Chicago, London, Sydney and on Broadway; and a stunning performances as Martha in a revival of Edward Albee's 'Who's Afraid of Virginia Woolf?' in Chicago and on Broadway between 2010 and 2013. But for more than a decade, Morton, 66, has mostly been found behind a desk on the long-running Dick Wolf TV show 'Chicago P.D.,' playing desk sergeant Trudy Platt. Morton spoke this week at the Steppenwolf Theatre, where she returns to the stage in 'You Will Get Sick' by Noah Diaz, a play about a young man and his caretaker, opening Sunday night in a production directed by Audrey Francis. Our conversation has been edited for clarity and length. Q: How long has it been? 'Hir' was the last one. I don't do years very well but it has been at least eight years. Q: Why has it taken so long to return? Being on the TV show, our hiatus allows only one little space of time to do a play. So it has to be something I really want to do. I read this and was very intrigued by it, and with Audrey directing, it was a no-brainer. Q: You've been on 'Chicago P.D.' for 11 years. But a lot of people reading this story, with all due respect, perhaps don't watch that show. I understand. Q: So where does that fit in the Amy Morton career arc at this point? It came along at such a fortuitous moment. I had done 'August' and 'Virginia Woolf' back to back. The whole odyssey started in 2007 and I wasn't finished until 2014. Both of the characters I was playing walked onto the stage in bad place and it just got worse. For three acts. And by the end of 'Virginia Woolf,' I said, I can't go back on stage. Living that. What it does to the psyche and the soul. I just couldn't do it anymore. So I did not know what I was going to do and then I got this job. I was, and still am, so incredibly grateful that this happened. There was no way I could have gone back on stage. It was just broken. It was just broken for a while. Q: The break came from doing two such devastating plays? Yes. Back to back. It was too much. Q: But if someone had said after that, 'Play this beautifully affirming character in this beautifully affirming play'? I couldn't do eight shows a week. It all felt too brutal. My body, my everything was just done for a while. So getting this job was the best thing that could have happened to me. I love the crew and the cast. I have had a job for this long in my home town that has allowed me not to worry about money. I feel like the luckiest person in the world and I can understand why anyone would hate me. Q: But you're a remarkable artist. I understand you needed a break. But has Sgt. Platt been able to sustain your artistic soul? Not necessarily. But I've been able to do some movies on the side and be a guest artist on 'The Bear.' But also, understand that I'm older now. I don't have the same ambition. I really don't. I remember in my younger days when actors would talk about retiring, I'd say that's insane, actors don't retire. But I don't believe that anymore. I could see myself retiring. And I really don't need to constantly be pursuing a different character all the time. And the great thing for me is that this character on the TV show from the beginning has been very interesting to play. Q: How so? For the first four years, she was such a smartass, it was so much fun. You couldn't tell if she was evil or not and then the show got more serious and she went into a more serious vein and you see a bit less of me. Which is fine. Remember I am working with people who are appearing in every episode, , running after people with a . I am hardly ever outside. I wear the same costume. It's manna from heaven. When other actors are asked which role they wished they could play, they all want to be Platt. I am loath to use the words 'mama bear,' because it is so misogynistic, but she holds the front desk together and is constantly bolstering the team and has inside info into the lead characters. Q: And you like the writing? Yes. I've never had to do anything embarrassing. A lot of people on TV have to do embarrassing things. Not me. Q: So let's get to this play. Why come back with this? Firstly, it's really funny. That was the first thing that peaked my interest. Q: Because you are known for that. I'm not going to be headed back into 'Virginia Woolf' land anytime soon. Also, it's alarmingly moving and very beautiful and I love working with Audrey. She's a really fine director and I was excited to be able to do this with her. She was once was a student of mine and I love that she now is my boss. Q: I have to go back to what you said earlier. What if someone made the argument that an actor should be able to leave those characters at the office? Is there something in you that did not permit you to do that? Your body doesn't know you are lying. So your entire body becomes a giant carpal tunnel. Yes, I could leave it the office, but you hit two in the afternoon or so and your entire being starts to prepare yourself, even without your knowing. To do this job well, in my opinion, there are places that you need to go with those characters that are not fun. It doesn't mean that I stayed in them all night. But those runs were so (expletive) long and plays have a shelf life for a reason.
Yahoo
12-06-2025
- Business
- Yahoo
LYV, DKNG, SPOT: Bernstein Selects the Best Entertainment Stocks to Buy Right Now
1975 was a landmark year for film, with blockbusters like Jaws, One Flew Over the Cuckoo's Nest, and The Rocky Horror Picture Show dominating the box office, while cult favorites like Daisy Miller and Hard Times inspired generations of creatives. But as cultural critic Paul Skallas puts it, we now live in an age of 'stuck culture,' where bold, risk-taking storytelling has largely faded from the mainstream. Easily unpack a company's performance with TipRanks' new KPI Data for smart investment decisions Receive undervalued, market resilient stocks right to your inbox with TipRanks' Smart Value Newsletter That said, after closely studying today's entertainment landscape, Bernstein analyst Ian Moore believes the spirit of 1970s cinema – its powerful narratives and star-making energy – still exists 50 years later in 2025, though it thrives in more niche, less traditional spaces rather than at the heart of Hollywood. From an investing perspective, Moore points out where today's gems can be discovered in the Entertainment sector: 'We expect the experience economy to continue to run hot as live music & sports venues scramble to meet seemingly insatiable demand for ultra-luxury VIP packages. Online, we believe music DSPs will meet strong demand for higher-priced subscription tiers, while high-rolling live bettors continue to expand their presence within sports betting. Although catering to this smaller cohort could cause growth in casual fans to slow, we expect profitability growth to accelerate meaningfully for companies that lead in accumulating business from superfans.' With all that as backdrop, Moore highlights three entertainment stocks he believes are well-positioned to thrive in today's market: Live Nation (NYSE:LYV), DraftKings (NASDAQ:DKNG), and Spotify (NYSE:SPOT). Together, they span live events, online sports betting, and music streaming – all major outlets for today's experience-driven consumer spending. Let's give the Bernstein picks a closer look. Live Nation Entertainment First up is Bernstein's top pick, Live Nation Entertainment. This company is one of the largest names in the event production segment, with a market cap of $33 billion and annual revenues of $23 billion last year. Live Nation's core business is bringing performance artists to the world's stages. Among the acts that Live Nation has recently brought to the stage are such big names as Imagine Dragons, Disturbed, the Backstreet Boys, and Bruno Mars. The company operates through three main segments, Ticketmaster, Live Nation Concerts, and Live Nation Media & Sponsorship, with concerts being the prime revenue generator. The concert business is extensive. Live Nation produces more than 44,000 such events annually, along with more than 100 festivals, all across 45 nations around the world. The company's aggregate audience exceeds 120 million concertgoers and music fans every year. While concerts are the main business, Live Nation's Ticketmaster segment also sells admission to such events as venues, festivals, major sports leagues, and theater groups. In all, the company sells some 550 million tickets annually. Turning to the company's financial results, we see that Live Nation last reported earnings for 1Q25. The company brought in $3.38 billion at the top line. This was down 11% year-over-year, and missed the forecast by $140 million. At the bottom line, earnings came to a net loss for the period; the EPS was -$0.32. We should note that the Q1 EPS was 7 cents per share better than had been expected. Looking forward, the company reported a record in event-related deferred revenue, at $5.4 billion. This bodes well for future business, and was up 24% year-over-year. For Bernstein's Ian Moore, the outlook on Live Nation is highly positive, as he goes to great lengths to explain, writing, 'We are bullish on LYV due to its powerful flywheel which has the potential to drive meaningful outperformance across each of its operating segments. Technological improvements coupled with changes in artist and consumer behavior, especially among younger generations, enhance the inherent scarcity value of live experiences and position Ticketmaster to grow GTV ahead of expectations (our +11% vs. consensus' +HSD) into the summer concert season and beyond.' 'As LYV's Venue Nation expansion and VIP upgrade strategy complements a strengthening primary ticketing business, we are forecasting meaningful sponsorship growth (+mid-teens AOI vs. +LDD) on the upscaled inventory of opportunities for brands along with sizable uplift to concert margins (+50bps per year, generating +$50M in AOI vs. consensus) on a more favorable mix. We also believe that recent public and political pressure stems from a misunderstanding of the business and see the potential for multiple expansion as investor concerns ease,' Moore went on to add. Moore puts an Outperform (i.e., Buy) rating on this stock, along with a $185 price target that implies a one-year upside potential of 29%. (To watch Moore's track record, click here) The Strong Buy consensus rating on LYV shares is unanimous, based on 13 recent analyst reviews. The stock's $143.71 trading price and $166.15 average price target together suggest that the shares will gain 15.5% in the coming year. (See LYV stock forecast) DraftKings Next up is a leader in the field of sports betting, DraftKings. This company, founded in 2012, is a fast-growing player in the US betting market, offering a range of products that include sportsbook and fantasy league platforms. The company's betting products cover most of the world's major sports and leagues, American football, Major League baseball, the NBA, the NHL, international soccer, and the hugely popular – although non-pro – college hoops. DraftKings is also a major platform for fantasy leagues, which let fans and bettors put some skin in the game, by making pre-game choices on players and line-ups that will mix with the game results to determine how the bets work out. Sports betting is legal in about half the states of the Union, a fact that presents DraftKings with a patchwork quilt of regulatory regimes to navigate – which it manages successfully. DraftKings operates legal sports betting, along with legal casino games, across the country, in 26 states plus DC. Fans and bettors can find more than 1,000 ways to bet with DraftKings. The company at the end of last year completed its acquisition of SimpleBet, a move that firms up its ability to offer quality betting options and a smoother experience for its customers. On the financial side, DraftKings reported 1Q25 revenues of $1.41 billion, a figure that was up 19.5% year-over-year, although it missed the estimates by $20 million. The company's earnings in the quarter, at 12 cents per share in non-GAAP measures, were in-line with expectations. Looking ahead, DraftKings has set its full-year 2025 revenue guidance with a mid-point of $6.3 billion, slightly lower than the $6.37 billion consensus view. The company's top-line guidance midpoint suggests 32% annualized revenue growth. Checking in again with Ian Moore, we find the analyst predicting sound results for DraftKings going forward. Moore says of the stock, 'We believe DKNG presents a compelling and differentiated investment case within a dynamic OSB & iGaming landscape and is positioned for sustained profitability growth due to its distinct advantages in live betting. DKNG's enhanced live pricing capabilities, significantly boosted by the SimpleBet acquisition, are the core lever toward capturing substantial growth in US live betting and driving strong handle and profitability growth (ARPU +MSD vs. consensus). DKNG has also demonstrated a unique ability to capitalize on event-driven engagement, which we believe should drive accelerating live bettor acquisition as streamers begin to distribute an increasing volume of live events. We also see untapped potential around Jackpocket cross-sell to live betting and a key upcoming catalyst in its integration into the core platform. User profitability is key to our differentiated view on DKNG.' These comments support Moore's Outperform (i.e., Buy) rating on DKNG shares, and his $46 price target indicates a potential upside of 22.5% in the next 12 months. This is another stock with a unanimous Strong Buy consensus rating, based on 26 recent analyst reviews, all positive. The stock's $37.56 trading price and $54.43 average target price combine to imply a 45% gain on the one-year horizon. (See DKNG stock forecast) Spotify Technology Last on our list of Bernstein picks is Spotify, the popular music and audio streaming company. Spotify is based in Sweden, where it was founded in 2006, and was an early leader on the music streaming scene. The company has grown dramatically since its founding, as online streaming has grown ever more popular. Today, Spotify boasts a market cap of $139 billion, a figure that helps to quantify the sheer size and strength of Spotify's business. That business is extensive, as Spotify has moved beyond just streaming songs. The company does boast a line-up of more than one million creative musicians and artists available on its site, but it also features podcasts, including the highly popular Joe Rogan Experience. Fans and listeners can search Spotify's site to find exactly what they want to listen to, using categories such as popular artists, featured charts, or trending songs. Spotify uses AI technology to provide listeners with personalized playlists and recommendations. When we look at Spotify's financial results, we find that the company generated 4.2 billion euros in top-line revenue during 1Q25, the last period reported. This was congruent with analyst expectations, and was up 15% from 1Q24. The company's bottom line earnings came to 1.07 euros per share. These results were supported by solid growth in Spotify's user base. The company's subscribers increased in Q1 by 12% year-over-year to reach 268 million. The monthly active users, or MAU, were up 10% year-over-year, and came in at 678 million. One last time, we'll check in with Bernstein's Moore, who sees past success as indicative of future potential for this stock. Moore is also impressed by Spotify's ability to leverage its pricing power. He says of this streaming service, 'We continue to see a strong investment case for SPOT built on its proven ability to leverage its sizable market share and quality platform. We believe the business can exercise pricing power sustainably given recent success with minimal churn and expect regular price hikes to become a consistent ARPU driver (+MSD vs. consensus expectations). We anticipate further tailwinds to gross margins on the steadily growing availability of non-music content on the platform (+50bps per year vs. consensus). We also expect that the highly anticipated superfan subscription tier will move quickly toward an early 2026 launch once Sony gives the necessary approvals and will be met with rapid adoption among existing and potential new subscribers, which will be a strong catalyst to inflect gross profit growth toward the high-20s and gross margins toward 40%+ long-term. We believe our variant perception on SPOT is mostly around pricing.' Following from this stance, the Bernstein analyst gives Spotify an Outperform (i.e., Buy) rating, and he supports that with an $825 price target that suggests a one-year gain of 19% for the shares. This stock has a Moderate Buy consensus rating from the Street's analysts, based on 28 reviews that include 19 to Buy, 8 to Hold, and 1 to Sell. However, the stock is priced at $693.32 and its $676.44 average price target implies it will stay rangebound for the time being. (See SPOT stock forecast) To find good ideas for stocks trading at attractive valuations, visit TipRanks' Best Stocks to Buy, a tool that unites all of TipRanks' equity insights. Disclaimer: The opinions expressed in this article are solely those of the featured analysts. The content is intended to be used for informational purposes only. It is very important to do your own analysis before making any investment. Disclaimer & DisclosureReport an Issue Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Yahoo
22-05-2025
- Entertainment
- Yahoo
50 Years On, Michael Douglas Reflects On His Epic Journey Making ‘One Flew Over The Cuckoo's Nest': 'The Movie Reflects What's Happening In America'
EXCLUSIVE: One Flew Over the Cuckoo's Nest, the New Hollywood classic adapted from Ken Kesey's book, celebrates its 50th anniversary this year with a special screening today [21st] at the Cannes Film Festival and a stateside re-release by Fathom Entertainment in July. Michael Douglas and Saul Zaentz served as producers of Miloš Forman's anti-establishment firecracker, which remains one of just three movies ever to win all five major Academy Awards — Best Picture, Actor, Actress, Director and Screenplay. Thirteen years in the making and knocked back by countless A-list actors and studios, the movie overcame myriad challenges to become 1975's second highest-grossing U.S. film (over $100 million worldwide), beaten only by Jaws. Douglas was only 31 at the time. More from Deadline Scarlett Johansson On Why The Script For Her Directorial Debut 'Eleanor The Great' Made Her Cry: 'It's About Forgiveness' – Cannes Cover Story Dakota Johnson Talks Romantic Experiments In Cannes Comedy 'Splitsville', Upcoming 'Materialists' And 'Juicy' Colleen Hoover Adaptation 'Verity' Joachim Trier's 'Sentimental Value' Wows Cannes In Premiere, Gets Extraordinary 19-Minute Ovation Jack Nicholson serves as Randle McMurphy, a role that had been played by Douglas' father Kirk in the Broadway play version. Randall is a rebellious new patient at a mental institution who does battle with Louise Fletcher's domineering head nurse Mildred Ratched. Will Sampson, Danny DeVito, Sydney Lassick, William Redfield, Christopher Lloyd and Brad Dourif also star, the latter two making their feature debuts. Screenplay came from Lawrence Hauben and Bo Goldman. Here, Douglas (80) recalls the remarkable journey behind the film, his father's role in bringing it to him, and the ways in which it remains relevant to this day. RELATED: DEADLINE: Michael, how do you view today? MICHAEL DOUGLAS: I think the movie reflects what's happening in America right now, in terms of the Presidency and a struggle that we never anticipated we would see in our country: a struggle for democracy. There is a parallel between Nurse Ratched and the system she operates within and what's happening in America today. We are certainly under attack in in in our country right now. But I also look back on the production as a magical process and with the greatest satisfaction for how much I learned and how important it was for my career as a producer. Saul Zaentz, my fellow producer on the movie, was an amazing man, a three-time Best Picture winner, which perhaps doesn't get the credit it should. RELATED: DEADLINE: How fired up were you by the material when your dad was trying to get it made in the '60s? DOUGLAS: I was taking a freshman course in 20th century American literature at the time. I was a hippie in California and Ken's book just floored me. I saw dad in the play, and years after, I heard by chance that he was in the process of selling the rights to the book after not being able to get it made as a movie. I said, 'I'll make my best effort for you to be in it.' He was very sweet and agreed to give the kid a chance. DEADLINE: Your dad really struggled to let it go, though. He even said the process 'destroyed' him. How challenging was that? DOUGLAS: He was proud of his son producing it, but the aspect he struggled to let go of was not playing the part. It was extremely difficult for him. When you look back as an actor, maybe you get four great parts in your career. R.P. McMurphy was one of those parts. We joked about it later, that it was my responsibility he didn't star in our film, but I reminded him that the director has the final say. I tried, but it wasn't possible. Too much time had passed. When Gene Hackman and Marlon Brando turned it down, I thought there might be more of a chance, but then Miloš really wanted Burt Reynolds. Later on, Hal Ashby showed us some outtakes of Jack Nicholson from The Last Detail and that was that. RELATED: Neon's Palme D'Or Whisperer Tom Quinn Reveals Keys To Cannes And Oscar Success: 'I'm Happy To Share A Playbook' DEADLINE: He wasn't the only Douglas interested in a part, right. You had wanted to play Billy? DOUGLAS: That was a brief moment in time, early on in production, but as soon as we auditioned Brad Dourif that thought disappeared. I soon realized producing was a full-time job, anyway. Both Saul and I were pretty much virgin producers but we soon both learned to go with our instincts and to do things even though people told us not to. For instance, shooting on location in January in Oregon on a film that 90% of took place inside, that could have easily been staged in Los Angeles. It was hard to explain, but having the cooperation of Dr Dean Brooks [the real doctor who stars in the film as Dr. Spivey], the actors being able to spend time with real patients in a real mental institution, these were things we couldn't have done on a set. DEADLINE: And Saul financed the whole thing? DOUGLAS: He did. We started at around $1.4 million and ended up close to $4 million. His partners at his music and production label Fantasy Records [whose success with Creedence Clearwater Revival helped fund the movie] were outraged. They thought I was hustling. But Saul played poker and pool, he had a gambler's instinct…I was working as an actor on The Streets Of San Francisco and was able to go back and forth between San Francisco and Berkeley where Saul was based but come the fifth season of the show I decided not to carry on and dedicated myself to the movie when it finally came together. RELATED: Brazilian Comeback: How The Cannes 2025 Country Of Honor Is Following The Success Of 'I'm Still Here' DEADLINE: It was years and years looking for finance and a director and cast. Miloš had loved the project but had been detained for years in Czechoslovakia by the Russians so couldn't make it. Multiple studios and major actors turned the movie down. And then when he finally got to the U.S., Miloš had a mental health episode in the Chelsea Hotel… DOUGLAS: Finding Miloš had been so cathartic for us. We had loved his films The Firemen's Ball and Loves Of A Blonde. We had spoken to other filmmakers, but they kept their cards so close to their chests. Miloš was collaborative and open with us, despite his European background where the auteur director is top of the pyramid. When Miloš came up to my house in LA with Saul we swelled up with emotion when we sat down to read the script together. DEADLINE: Did you ever think it wouldn't get made? DOUGLAS: I was probably a little naive. But I knew Saul had the same passion I did. Did I get nervous as we got a little closer and the budget started going up? Yeah, to some degree. But I believed we'd get there. DEADLINE: You must have been so relieved when you finally got to production in Oregon. But there were plenty of ups and downs to come, from illness to actors' mental health crises, and key players not seeing eye to eye… DOUGLAS: There's no question about it. We had to wait for Jack for another six months before shooting due to a prior commitment, and that gave us more time to audition, which was so vital. To give you an idea of how disparate the search was, the casting of Will Sampson came about after he was recommended to me by a used car dealer and rodeo announcer I sat next to one time on a flight. Jack, Saul and I went up to meet Will in Washington where he was working as a forest fire ranger. When he walked through the arrival gate, with cowboy hat and cowboy boots on, all seven feet of him, Jack said, 'That's the Chief.' We flew back down to Oregon in a tiny plane, so Jack basically had to sit on Will's lap. It was an ecstatic moment to have the casting finally complete… RELATED: Ooh-La-La Land: Everything You Always Wanted To Know About Sex* (*And The Cannes Film Festival) DEADLINE: Danny DeVito, someone you've worked with a few times in your career, was a former roommate of yours, right? DOUGLAS: That's right. We knew each other while I was at college and were roommates after that in New York. He played Martini in the off Broadway version of the book. He was the first person cast. But I first met Danny when I was at the Eugene O'Neill Memorial theater in Waterford, Connecticut, over the summers of college and Danny came up as a member of the American Academy of Dramatic Arts which was presenting a show there. We bonded at that time… But no doubt it was an eventful shoot. We went through three DoPs on the film. Haskell Wexler, our original DoP, was very talented. He had also been a director and had strong thoughts on how things should go, some of which Miloš took on board, some he didn't. But he started to undermine Miloš a little so that didn't end well. There were other challenges. One Friday, a couple of us were having a few drinks when we learnt that Bill Redfield, who played Harding, was diagnosed with leukemia after showing symptoms on set. I met his wife soon after and she told me they had known before Bill started filming but kept it secret because he had wanted to do the part so much. We were terrified. We were told Bill wasn't long for this world. We had a real quandary as to whether to continue with Bill or recast. But he and his wife begged us to continue and that's what we did. Sadly, he passed away not long after we wrapped shoot. The boat scene was another major issue. It was horrendous for a lot of the actors. We were out there for a week and people were dry heaving, nauseous, that was a tough one to get through. There were tears. But this was such a tight group. That was the best thing about it. The ensemble. It was a truly great thing to watch the dailies. RELATED: 'Mission: Impossible – The Final Reckoning' Review: The Sky's The Limit In Ethan Hunt's 'Last' Adventure – Cannes Film Festival DEADLINE: How difficult was it when Jack and Miloš had their falling out? DOUGLAS: That was largely related to Miloš not letting the actors see the dailies. They patched it up in the end. When Jack arrived on set after his previous commitment, the other actors were really deep into their characters, and some had been living and sleeping in the mental hospital for weeks by that time. Jack was taken aback — these guys didn't even break character during lunchtime — but he quickly realized how serious the production was. Miloš was a disciplinarian. He would say 'And cut! Perfect, perfect… Now let's do it one more time.' We would joke about that. DEADLINE: Did you know at the time that what you had was great? DOUGLAS: We knew what we had was incredible. I could show you a 10-minute reaction scene of Jack's, just his reaction in the group therapy section, and you would watch it mesmerized. DEADLINE: Someone who didn't ever come round was the author Ken Kesey who ultimately disavowed the film. How disappointing was that for you? DOUGLAS: Yeah, that was the one. That was the one real sadness. Ken's script kept a lot of the literary qualities of his novel, so it didn't quite work. The argument began under the auspices that we had screwed him somehow in his deal, but that wasn't the case. We felt we had been very generous in offering him 3%, but he wanted 6%. That was always a claw in the side of the project. It eventually led to a lawsuit. And by the time this came around, a couple of years after the movie was released, Ken's 3% was worth around $3 million. We didn't hear from Ken for a long time so we said 'ok, Ken, we're going to donate your share to the University Of Oregon in your hometown of Eugene. Then he finally go back to us and we finally came to a settlement…I felt bad at the Oscars. I think Miloš was the only person who mentioned Ken. I had worshipped him. He was an important part of my generation and I had spent a lot of time with him. But I'm not sure he ever even saw the movie. DEADLINE: No, apparently he only ever saw it years later by accident on TV one time…Like many, I was struck by the film's haunting, spare score, and Jack Nitzsche's unusual use of the saw… DOUGLAS: And crystal glasses. Spinning fingers over glasses filled with different amounts of water… DEADLINE: Right. I didn't know that. Was everyone on the team in favour of that sound? DOUGLAS: We were in favour. We were looking for something unique. It was a mental asylum after all, so we were looking for something haunting, but not too scary. Jack Nitzsche was a very interesting character, and very talented. We took a chance. And I remember he was recording it up at Fantasy Records in Berkeley. That's where we did our post-production. I remember going over there to see him one day and he was sitting there at this table full of crystal glasses, and was dipping his fingers in water, then running them over the rims to create different tones. Then this big bearded trucker brings in a massive saw. I thought what the hell is going on? But it was a phenomenally eerie, effective soundtrack. And again, it was one of those god given moments that worked out. DEADLINE: Who would you say was responsible for the success of the film's marketing? Presumably domestic distributor United Artists were key there because the movie found a vast audience…DOUGLAS: That's a good question. United Artists was largely responsible for the marketing. We went over the poster designs with them. It was Lisa Weinstein's mother, Marsha Weinstein, I believe. She became a confidante with Saul. But a lot of the movie's success was also down to word of mouth. There was such a small drop in box office each week and it just went on and on. Of course that doesn't happen today. It was the same overseas. DEADLINE: Yes, I think it was Sweden where the film played for years straight… DOUGLAS: Yes, this was pre-social media. People would actually talk about movies much more back then. Going to the cinema was more of a unique experience and people did that more often than today where more people consume at home. Releasing late in the year meant we got momentum going into the Oscars. DEADLINE: Did UA shy away from any of the tougher elements of the movie in their campaign? DOUGLAS: No, thank goodness. We'd had that difficulty when trying to get the movie set up with studios, and everyone told me no one wants to see another movie like The Snake Pit and they missed the humour of the movie. I remember the poster with Jack looking up to the sky, but it's kind of a hopeful look, you know. And of course we had a lot of very positive reviews. DEADLINE: The movie was an enormous box office hit, both in the U.S. and overseas. It made more than $100M globally, which is phenomenal for a socio-political drama made on a fraction of that budget. You can't have foreseen that level of success despite knowing what you had was very good? DOUGLAS: We didn't. We hadn't anticipated just how much it would connect all around the world, despite knowing how great Ken's story is and how well the cast did. DEADLINE: Presumably the key players on the movie did very well financially? DOUGLAS: Yes, we did. Me, Saul, Ken Kesey… I teased Jack for a long time that it was the best-performing movie of his career. I shared my back end with my father for giving me the rights. I think he made more money off that than on any movie he had starred in. It was a win all the way round so I'm super proud. DEADLINE: I read online that Jack's pay eclipsed all the other actors, which is probably what you'd expect at that time. I thought I'd seen that Louise Fletcher was a bit frustrated that the pay wasn't slightly more evenly distributed. I don't know if that's true but was that ever an issue? DOUGLAS: I've never heard that complaint. Louise was a relatively unknown actress at that time. She was not a profit particpant in her career, nor were the other actors. The only thing I heard from the actors at the time was that it was the best thing that happened to their careers. I remained good friends with many of the actors for many many years, including Louise. Jack Nicholson and Michael Douglas playing pool. DEADLINE: After the film's enormous success, did you hear from any of the well-known actors who had turned down the roles of Murphy or Nurse Ratched? DOUGLAS: I know that Anne Bancroft, who turned the part of Nurse Ratched down, was at a cocktail party with her husband Mel Brooks shortly after the movie's release and she read him the riot act there and then for influencing her to turn it down. I heard that from some people who were there at the party. There were so many that turned the part down. Colleen Dewhurst and Angela Lansbury were others. The movie came shortly after the success of the women's liberation movement and I think there was a perception among some actresses that they didn't want to take on a villainous character at that time. DEADLINE: Did you ever have a conversation with Marlon Brando about the role of R.P. McMurphy? He was among those offered the part… DOUGLAS: No. No discussion. It was sent to him and that was it. DEADLINE: Five years ago you were an exec producer on the Ryan Murphy spin-off series called about Nurse Ratched's character. How often have there been requests for remakes and spinoffs and what did you make of Murphy's series? DOUGLAS: That would be a question for Paul Zaentz who is across the rights. I know he he's had multiple requests in the in the past, but he has been very selective and I think that was the only time they've done one, which is good because so much gets remade these days…as for the series, it was ok, just ok. I wasn't very much involved, to be honest. DEADLINE: Do you have anything coming up this year to celebrate the movie? DOUGLAS: I'm doing something with the Academy. Myself, Danny DeVito, Brad Douriff and Christopher Lloyd. I'll also be at a couple of festivals in coming months and there will be opportunities to discuss the movie there. DEADLINE: The major studios don't often want to get behind movies with social or political consciences today. They're even rare in the independent space. There were so many remarkable U.S. films in this vein in the '70s, from , to , and . The quality of moviemaking and the longevity of so many of the movies in that decade is remarkable. Why were movies so potent from that time and why do you think we have seen a dip in that type of U.S. moviemaking in recent years? DOUGLAS: Well, Cuckoo's Nest was an entirely independent production. The studios all passed on it. Maybe they didn't like the deal we offered, because we had already financed it. But they were also skeptical about the material. Today, streaming has taken over. It has inhaled Hollywood. It's very lucrative. Silicon Valley made us look like paupers. For Amazon and Apple, movies are a side business. At the same time, many of the great screenwriters went to work in TV and streaming. But you're right, if you compare the five Best Picture nominees from our year [also nominated in 1976 were Barry Lyndon, Dog Day Afternoon, Jaws and Nashville], with some of the recent years… Theatrically it has become very difficult. Look at that Apple movie Wolfs. It was meant to be theatrical, and it turned into a one-week release. I'm working on a small movie right now that I'm going to produce and I'm aware how difficult it's going to be to get it into theaters for any length of time. The issue is whether the movie theater experience can hang in there. It's a tough time for theater owners. DEADLINE: A couple of years ago you acted with your son Cameron in the movie ? When might we see that? DOUGLAS: I don't know. I believe it's looking for distribution. DEADLINE: You were in three of the movies and appeared in . Would you do another Marvel movie? DOUGLAS: I don't think so. I had the experience, and I was excited to do it. I'd never done a green screen picture before. I did the The Kominsky Method because I wanted to work with Chuck Lorre and try some comedy. But I'm enjoying my hiatus and enjoying my life. It was overwhelming running the production company and acting at the same time. DEADLINE: Will you act again? DOUGLAS: Yes, if something good comes up that I really like. But I don't feel a burning desire. I'm still producing. I still love bringing people together. Best of Deadline Every 'The Voice' Winner Since Season 1, Including 9 Team Blake Champions Everything We Know About 'Jurassic World: Rebirth' So Far 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out?
