Lady Gaga in Talks for Bradley Cooper's 'A Star Is Born' Remake. Lady Gaga is ready for her big- screen close- up. The singer is in talks to star opposite Bradley Cooper in A Star Is Born, the remake that Cooper also will direct. The movie, based on the 1. Janet Gaynor and Fredric March, centers on a movie star who helps an aspiring young actress find fame, even as age and alcoholism send his own career into a downward spiral. It was subsequently remade in 1. George Cukor, with Judy Garland and James Mason starring, and again in 1. Barbra Streisand and Kris Kristofferson headlining. Warner Bros. Cooper's American Sniper director Clint Eastwood became attached to the project in 2. At one time, Beyonce was set to star, but things stalled when she became pregnant and Eastwood moved on to Jersey Boys. A Star Is Born (1937) cast and crew credits, including actors, actresses, directors, writers and more. A young woman comes to Hollywood with dreams of stardom, but achieves them only with the help of an alcoholic leading man whose best days are behind him. A Star Is Born is a 1937 American Technicolor romantic drama film produced by David O. Selznick, directed by William A. Wellman from a script by Wellman, Robert. Altman June 27, 2016, 6:00am PDT Share on Facebook. Bradley Cooper is set to direct the film. Lady Gaga is ready for her big-screen close-up. The singer is in talks to star opposite Bradley Cooper in A Star Is Born. Reports of Gaga’s involvement first surfaced when the singer was caught by paparazzi on a motorcycle ride with Cooper. Gaga tested for the studio, impressing the execs. Warners had no comment. Gaga is best known for her pop music career, but has been involved in both film and TV projects in recent years. She starred in American Horror Story: Hotel, the anthology FX series from Ryan Murphy. Gaga won a Golden Globe for her work on that show. She previously appeared in Sin City: A Dame to Kill For, Machete Kills and Muppets Most Wanted. Gaga was nominated for an Oscar for co- writing the original song from the documentary The Hunting Ground. She is repped by CAA. After the original series was canceled in 1. Things were not going as well for creator Gene Roddenberry. Two follow- up pilots, Genesis II and The Questor Tapes, did not go to series, and his big- screen movie, Pretty Maids All in a Row, flopped. Roddenberry depended on income from the Star Trek lecture and convention circuit. But by 1. 97. 5, Paramount was toying with the idea of reviving the show as a big- screen feature. This exclusive excerpt from. The Fifty- Year Mission: The Complete Uncensored, Unauthorized Oral History of Star Trek - The First 2. Years (June 2. 8, Thomas Dunne Books; Volume II covering the second 2. Aug. 3. 0) by journalist Edward Gross and television writer/producer Mark A. Altman (Castle, Agent X) details Roddenberry’s post- Trek disillusionment and his first attempts to come up with a script, including one that had the crew meeting Jesus and another where they tried to prevent the Kennedy Assassination. Both ideas were rejected by then Paramount boss Barry Diller, though development continued on a new Star Trek. He really wanted to do something else. It was the idea of trying to prove himself, not that he was aware he was proving himself. He was sort of desperate to show he could do something besides Star Trek. My dreams were going downhill, because I could not get work after the original series was canceled. I was stereotyped as a science- fiction writer, and sometimes it was tough to pay the mortgage. There were several aborted film projects he was involved with, including one that would have seen Roddenberry collaborating with Paul Mc. Cartney, at the time soaring (no pun intended) with his Beatles follow- up band, Wings. SACKETT: I have no idea whatever happened to that. It's probably stuck in a file, like the end of Raiders of the Lost Ark. Paul contacted him and was a Star Trek fan. He invited us to a concert, which was great, and we met backstage. Paul hired Gene to write a story about the band and it was a crazy story. Paul gave him an outline and Gene was supposed to do something with it. It was bands from outer space and they were having a competition. Gene was open to things at this point; Star Trek wasn't happening and he wasn't getting his scripts produced, but he had a family to feed. Gene began working on it and it was about the time they started talking about bringing back Trek, so he never got to complete anything for Paul. POVILL: In May of 1. Paramount expressed interest in developing a Star Trek film, so Gene moved back into his old office on the lot. Kirk”): I was working on the series Barbary Coast at the time, which was done at Paramount. It was on one end of Paramount, and Star Trek had been filmed at the other end of Paramount. I had never, for the longest time, revisited the stage area where . So one day I decided to go there, ! That was the strangest thing, because these offices were deserted. So I followed the sound, till I came to the entrance of this building. And the sound was getting louder as I went into the building. I went down a hallway, where the offices for Star Trek were .. I opened the door and there was Gene Roddenberry. He was sitting in a corner, typing. I hadn’t seen him in five years. I said, “Gene, the series has been canceled!” He said, “I know, I know the series has been canceled. I’m writing the movie!” So I said, “There’s gonna be a movie? What’s it gonna be about?” He said, “First of all, we have to explain how you guys got older. So what we have to do is move everybody up in a rank. You become an admiral, and the rest of the cast become Starfleet commanders. One day a force comes toward Earth — might be God, might be the Devil — breaking everything in its path, except the minds of the starship commanders. So we gotta find all the original crewmen for the starship Enterprise, but first — where is Spock? He's back on Vulcan, doing R & R; five- year mission, seven years of R & R. He swam back upstream. So we gotta go get him.” So we get Spock, do battle, and it was a great story. Based on research that had been done by Povill for a proposed non- Star Trek novel to be written by Roddenberry, the above- described treatment for The God Thing focuses on Admiral Kirk reassembling his crew to stop an entity on course for Earth that claims to be God. It turns out to be a living computer programmed by a race that was “cast out” of its own dimension and into ours. The story ends with the “God” entity miraculously granting our crew newfound youth and returning them back to the original five- year mission. RICHARD COLLA (director, The Questor Tapes): Gene showed me that treatment, which was much more daring than Star Trek: The Motion Picture would be. The Enterprise went off in search of that thing from outer space that was affecting everything. By the time they got into the alien’s presence, it manifested itself and said, “Do you know me?” Kirk said, “No, I don’t know who you are.” It said, “Strange, how could you not know who I am?” So it shift- changed and became another image and said, “Do you know me?” Kirk said, “No, who are you?” It said, “Strange, how could you not know who I am?” So it shift- changed and came up in the form of Christ the carpenter, and says, “Do you know me?” and Kirk says, “Oh, now I know who you are.”POVILL: It probably would have brought Star Trek down, because the Christian Right, even though it wasn’t then what it is now, would have just destroyed it. In fact, Gene started the script under one Paramount administration and handed it to another .. There was no way on Earth that that script was going to fly for a devout Catholic. RODDENBERRY: Actually, it wasn’t God they were meeting, but someone who had been born here on Earth before, claiming to be God. I was going to say that this false thing claiming to be God had screwed up man’s concept of the real infinity and beauty of what God is. Paramount was reluctant to put that up on the screen, and I can understand that position. Over the decades there were reportedly a number of attempts to novelize The God Thing; among the potential authors were Susan Sackett and Fred Bronson, Roddenberry official biographer David Alexander, Trek star Walter Koenig and, in the version that came the closest to fruition, Michael Jan Friedman’s adaptation for Pocket Books. MICHAEL JAN FRIEDMAN (author): Gene had written a script for the first Star Trek movie. Certain elements showed up in Star Trek: The Motion Picture, but most did not. So there was this mysterious script floating around that people talked about as if it were the Dead Sea Scrolls. After I had written several successful Trek novels, Trek editor Dave Stern asked me to turn Gene’s efforts into a novel called The God Thing. To the best of my recollection, I received both the script and a short narrative version of it. Naturally I jumped at the chance to translate and expand it. Gene was — and still is — one of my heroes, for God’s sake, no pun intended. As he had already left the land of the living, this was a unique opportunity to collaborate with him. But when I read the material, I was dismayed. I hadn’t seen other samples of Gene’s unvarnished writing, but what I saw this time could not possibly have been his best work. It was disjointed — scenes didn’t work together, didn’t build toward anything meaningful. Kirk, Spock and Mc. Coy didn’t seem anything like themselves. There was some mildly erotic, midlife- crisis stuff in there that didn’t serve any real purpose. In the climactic scene, Kirk had a fistfight with an alien who had assumed the image of Jesus Christ. So Kirk was slugging it out on the bridge. With Jesus. DAVID STERN (former Star Trek editor at Pocket Books): We worked up an outline, . And that got frustrating, because we weren’t getting specific enough feedback to know which direction to go in. And the manuscript — Gene’s treatment — definitely needed more. FRIEDMAN: This was, of course, Majel’s prerogative. After all, she was Gene’s widow. And I could have tried to do what she was asking — just stretch out the scenes to take up more pages. Certainly, it would have been a healthy payday for me. The print run was slated to be enormous. But public scrutiny of this story in anything approximating its original form would not have put Gene or his legacy in a good light. It would not have put me in a good light. And it would not have put Pocket in a good light. In the end, after discussions with Majel and after entertaining the possibility of using one other writer, Pocket agreed with my assessment and scrapped the project. I wish it had turned out otherwise. But you know, all things considered, it’s probably better this way. POVILL: Gene went to work on The God Thing in May of 1. Star Trek feature. By August it was shitcanned by Paramount president Barry Diller. Gene, who had gotten to know me pretty well by then, suggested that I take a crack at writing a treatment, which I did. Then he and I worked on a treatment together. So, Gene told me it'd been rejected and told me that if I wanted to come up with a Star Trek movie story of my own, he'd be happy to look at it and to pass it along if he thought it was worthy. What I didn't know at the time was that about 7. I think) were being paid to come up with their ideas. Black, Richard Matheson and Ted Sturgeon. And probably others from outside the Trek universe. In this story, planet Vulcan passes through an area of space in which they had previously released a . They had done this in the final war that they'd fought, a war in which things were going so poorly that they were forced to release the cloud prematurely, without full testing that would have revealed the damn thing only worked on Vulcans. But as with most weapons, it's only a matter of time before whatever you came up with winds up being used against you — only in this case it was more a matter of the movement of star systems bringing Vulcan into this area of space.
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