Michelle Pfeiffer’s “Liberating” ‘French Exit’ Role & ‘The Fabulous Baker Boys’ Sequel She Wants To See

DEADLINE: It's interesting that you brought up youth, because when I see Frances, I don't see her scared of her age at all.
And so it meant a lot to me for so many reasons. I had read that script five years prior, but nobody wanted to make it with me, and somehow it came back to me. I was terrified to do that singing and it was a lot of hard work, and I have such fond memories working with those Bridges boys [Jeff and Beau] and with [director] Steve Kloves. PFEIFFER: It is one of the performances that doesn't make me cringe. Actually Jeff and I have been torturing Steve about doing a sequel.
PFEIFFER: Actually no, because I was a little bit older, and we all really bonded. You know, I just thought that it could be fun to do a sequel to Witches. Susan [Sarandon], Cher and I were just like sisters, and Jack [Nicholson] was like our big brother. And so I felt like we were all in the trenches together. He really supported and looked out for us, because it was not an easy shoot.
Plus, money is her coping skill, and I think she's smart enough to know that without it, it's not a future that she will ever be happy in. I think that with money and wealth, you're able to camouflage a lot of flaws and I think that people are much more forgiving. I think she's very smart and she realizes this. I get the sense from her that she has to work very hard at staying grounded, and there's a fine line between a rich, eccentric, older woman and a poor nut job. PFEIFFER: I think, more importantly, it's how you grow old.
DEADLINE: So I’m assuming you showcasing your Catwoman whip skills again would be a “no” too?
PFEIFFER: It's so hard on my directors because they so want me to be happy. I have moments where I go, "Oh, that was a nice moment," when I'm not cringing. It's just very hard for me to really watch myself and I probably will never see this movie again. And it's very challenging for me.
DEADLINE: That being said, can you look back to The Fabulous Baker Boys days and admire that Michelle Pfeiffer performance?
Plus it’s just so phallic and looks so wrong. So I go and open the closet and it is hanging in the closet on a rod and it just looks so staged. PFEIFFER: That is so funny that you asked, I did this interview recently, and the journalist out of nowhere said, "Do you have the whip?" And I'm like, "Yeah, I have it here somewhere." I realized it was in the closet right behind me. And before your ask, I will also not get on top of a piano and try to sing like Susie Diamond either.
Did that extend to how Frances was written on the page and did it take you a bit to fully understand her? DEADLINE: The film is so quirky and loose.
PFEIFFER: I would love that. Doing a limited series gives you an opportunity to really go much deeper into the story and the character, which would be very interesting for me.” /> In fact, there are a few things at the moment that I'm looking at.
But no, probably she won't be on a piano. PFEIFFER: Right? It could be fun.
I had to just build a story around all of that and hope that some of it comes through. If it doesn’t totally come through, that's OK too, because that's really how we experience people; we don't really understand them completely. But you know what?
DEADLINE: Heads up, it’s good.
DEADLINE: Is there a moment that you really appreciated most during the film?
DEADLINE: Oh my God. That'd be awesome.
DEADLINE: Would you ever want to go back to TV in a limited series capacity? Many of your colleagues are tapping into that experience.
Pfeiffer admits to not fully understanding her character in the film, but she more than happily accepted the challenge of infusing Price with a memorable soul, much as she’s done with all the performances in her four-decade-long career. Michelle Pfeiffer has played an array of iconic characters—from a heartbroken Madame de Tourvel in Dangerous Liaisons to the beehived, conniving antics of Velma Von Tussle in Hairspray—but none of her previous work forewarned us of the wonderfully aloof eccentricity she displays as newly-impoverished socialite widow Frances Price in Azazel Jacob’s French Exit.
I don't even know where it comes from. My dad used to give me that look every now and then, and it is pretty terrifying. PFEIFFER: You know what? It's just a scary part of me that I tap into.
DEADLINE: And yet she sheds what’s left of her money with too much ease.
DEADLINE: I’ve heard about how you never watch your films because you’re too critical, is that still true after all these years?
DEADLINE: Let’s conjure that into a reality.
DEADLINE: What about the gaze that Frances gives to people that wrong her. It’s a look I’d never want to be in the crosshairs of.
She realizes her attachment to money, and until it's gone, she's not able to get on with her plan. PFEIFFER: You can say the writing is on the wall. But the truth is, I don't know that we could really understand why she behaves that way.
PFEIFFER: It would be crazy, right?
DEADLINE: You’ve had so many memorable roles, but I’m sure there’s a huge group of Grease 2 fans that would love to see you don your Pink Lady jacket and redo “Cool Rider”.
She could have done a much more subtle color than red, but no. PFEIFFER: For sure. I typically start from the outside in, though I know a lot of actors work the other way around. I usually have a visual on this person and can hear their voice and rhythms, and then I'm always working toward understanding how that came to be. For the hair color, I thought, this is a woman who likes to bring attention to herself, and thus she has this very vibrant, fiery red. A lot of it is trying to hold on to youth.
PFEIFFER: Thanks.
DEADLINE: Did the physical look of Frances help you with the character development too?
PFEIFFER: My first question was, "What's the deal with this talking cat?" I was very curious about the tone of this film, but it's also what I loved so much about it. There were also things that I honestly didn't understand of Frances at the time, and then as I delved deeper into it, I began to understand her more. But there are things where I don't know if I'll ever understand. It's like there are things that people do, that just seem completely nuts to everyone else, and it's just so outside our wheelhouse of logic; I even think there is an element of mental illness there. It walks this very fine line of comedy and zaniness and melancholy and drama.
DEADLINE: When you went from Grease 2 to Scarface, were you surprised by your ability to play toe-to-toe with Al Pacino so early in your career?
PFEIFFER: I think, oddly enough, it was toward the end during the last kitchen scene where I’m washing dishes with Malcolm [Lucas Hedges]. It just felt really good and cathartic. Frances is always so buttoned up, but during that scene she is not braced anymore and she is at her most vulnerable and open with him.
I remember most nights crying myself to sleep because I was so frightened and just felt so unprepared and in over my head with all of these seasoned, award-winning actors. Plus, I had to audition for so long because Al didn't really want me. PFEIFFER: I was so terrified and it was a long shoot. And so I do get myself into situations where I put myself in over my head, over and over again. And you know what? Why would he? But the one thing I do have going for me is, in spite of my fear, I'm very courageous. So I felt like I had to prove myself every day. But when it's sink or swim, I typically swim and make my way to the edge of the pool. Understandably so.
DEADLINE: But you didn’t feel that way on a film like The Witches Of Eastwick?
Was it as fun for you to play as it was for us to experience? DEADLINE: There’s something very satisfying about watching your character take on the world in this film.
That is the very last time I will humiliate myself. I will not get on top of the ladder and try to sing “Cool Rider”. PFEIFFER: Oh my God, that would be so pathetic if I tried to do that. [laughs]
I think for her entire life, money and all its accessories has been how she has defined herself and when all of that falls away, she's just lost. MICHELLE PFEIFFER: You know, it's interesting because I think it's what I was most attracted to, her take-no-prisoners attitude. Of course, underneath all of that there's a fragility there. I know she comes off as rude and curt at times, but I spend so much of my real time trying to be nice and polite and not offending people, and it's exhausting. I don't think she has the coping skills with where she finds herself at the beginning of the film. I think there's something really admirable about how honest and frank she is. And it's fun and very liberating to play.

‘Grease’ Prequel ‘Summer Loving’ In Development At Paramount

Grease had made close to $400M at the global box office for the Melrose lot after several remakes, and annual sing-along re-releases. Back in 2016, Fox aired a live version of Grease starring Julianne Hough and Vanessa Hudgens which won five Emmys.
Zuko's memory of the fling is more raunchy, while Olsson remembers an encounter that was more innocent. The pic will take it's jumping off point from the song "Summer Nights" and focus on the fling that John Travolta and Olivia Newton John's high school characters Danny Zuko and Sandy Olsson had before reconnecting in the movie that everyone knows.
The original 1978 Grease soundtrack has sold over 38M copies worldwide. There was a sequel to the film in 1982 starring Michelle Pfeiffer and it tanked at the time making just over $15M at the domestic box office.
 
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Deadline has confirmed that Aladdin screenwriter John August is writing a prequel to Paramount's 1978 musical Grease.

Taylor Swift – Riptide Lyrics

I was scared of dentists and the dark
I was scared of pretty girls and starting conversations
Oh, all my friends are turning green
You’re the magician’s assistant in their dreams

Oh, and they come unstuck

Lady, running down to the riptide
Taken away to the dark side
I wanna be your left hand man
I love you when you’re singing that song and
I got a lump in my throat because
You’re gonna sing the words wrong

There’s this movie that I think you’ll like
This guy decides to quit his job and heads to New York City
This cowboy’s running from himself
And she’s been living on the highest shelf

Oh, and they come unstuck

Lady, running down to the riptide
Taken away to the dark side
I wanna be your left hand man
I love you when you’re singing that song and
I got a lump in my throat because
You’re gonna sing the words wrong

I just wanna, I just wanna know
If you’re gonna, if you’re gonna stay
I just gotta, I just gotta know
I can’t have it, I can’t have it any other way
I swear she’s destined for the screen
Closest thing to Michelle Pfeiffer that you’ve ever seen, oh

Lady, running down to the riptide
Taken away to the dark side
I wanna be your left hand man
I love you when you’re singing that song and
I got a lump in my throat because
You’re gonna sing the words wrong

Oh lady, running down to the riptide
Taken away to the dark side
I wanna be your left hand man
I love you when you’re singing that song and
I got a lump in my throat because
You’re gonna sing the words wrong

Oh lady, running down to the riptide
Taken away to the dark side
I wanna be your left hand man
I love you when you’re singing that song and
I got a lump in my throat because
You’re gonna sing the words wrong
I got a lump in my throat because you’re gonna sing the words wrong

Vance Joy – Riptide lyrics

I was scared of dentists and the dark
I was scared of pretty girls and starting conversations
Oh, all my friends are turning green
You’re the magician’s assistant in their dreams

Oh ooh ooh oooh
Oh ooh ooh,
And they come unstuck

Lady, running down to the riptide
Taken away to the dark side
I wanna be your left hand man
I love you when you’re singing that song and
I got a lump in my throat cos’
You’re gonna sing the words wrong

There’s this movie that I think you’ll like
This guy decides to quit his job and heads to New York City
This cowboy’s running from himself
And she’s been living on the highest shelf

Oh ooh ooh oooh
Oh ooh ooh,
And they come unstuck

Lady, running down to the riptide
Taken away to the dark side
I wanna be your left hand man
I love you when you’re singing that song and
I got a lump in my throat cos’
You’re gonna sing the words wrong

I just wanna, I just wanna know
If you’re gonna, if you’re gonna stay
I just gotta, I just gotta know
I can’t have it, I can’t have it any other way
I swear she’s destined for the screen
Closest thing to Michelle Pfeiffer that you’ve ever seen, oh

Lady, running down to the riptide
Taken away to the dark side
I wanna be your left hand man
I love you when you’re singing that song and
I got a lump in my throat cos’
You’re gonna sing the words wrong

Oh lady, running down to the riptide
Taken away to the dark side
I wanna be your left hand man
I love you when you’re singing that song and
I got a lump in my throat cos’
You’re gonna sing the words wrong

Oh lady, running down to the riptide
Taken away to the dark side
I wanna be your left hand man
I love you when you’re singing that song and
I got a lump in my throat cos’
You’re gonna sing the words wrong
Yeah, I got a lump in my throat because you’re gonna sing the words wrong

Mark Ronson – Uptown Funk lyrics

[Verse 1]
This hit, that ice cold
Michelle Pfeiffer, that white gold
This one, for them hood girls
Them good girls
Straight masterpieces
Stylin’, wildin’
Livin’ it up in the city
Got Chucks on with Saint Laurent
Gotta kiss myself I’m so pretty

[Pre-Chorus]
I’m too hot (hot damn)
Call the police and the fireman
I’m too hot (hot damn)
Make a dragon wanna retire man
I’m too hot (hot damn)
Say my name you know who I am
I’m too hot (hot damn)
Am I bad ’bout that money
Break it down

[Chorus]
Girls hit your hallelujah (Woo!)
Girls hit your hallelujah (Woo!)
Girls hit your hallelujah (Woo!)
Cause Uptown Funk gon’ give it to you
Cause Uptown Funk gon’ give it to you
Cause Uptown Funk gon’ give it to you
Saturday night and we in the spot
Don’t believe me, just watch (come on)
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Hey, hey, hey, oh!

[Verse 2]
Stop
Wait a minute
Fill my cup put some liquor in it
Take a sip, sign the check
Julio! Get the stretch!
Ride to Harlem, Hollywood, Jackson, Mississippi
If we show up, we gon’ show out
Smoother than a fresh jar o’ skippy

[Pre-Chorus 2]
I’m too hot (hot damn)
Call the police and the fireman
I’m too hot (hot damn)
Make a dragon wanna retire man
I’m too hot (hot damn)
Bitch, say my name you know who I am!
I’m too hot (hot damn)
Am I bad ’bout that money
Break it down

[Chorus]
Girls hit your hallelujah (hoo!)
Girls hit your hallelujah (hoo!)
Girls hit your hallelujah (hoo!)
Cause Uptown Funk gon’ give it to you
Cause Uptown Funk gon’ give it to you
Cause Uptown Funk gon’ give it to you
Saturday night and we in the spot
Don’t believe me, just watch (come on)
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Hey, hey, hey, oh!

[Verse 3]
Before we leave
Lemme tell y’all a lil’ something
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up
I said Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up
Come on, dance
Jump on it
If you sexy then flaunt it
If you freaky then own it
Don’t brag about it, come show me
Come on, dance
Jump on it
If you sexy then flaunt it
Well it’s Saturday night and we in the spot

[Chorus]
Girls hit your hallelujah (Woo!)
Girls hit your hallelujah (Woo!)
Girls hit your hallelujah (Woo!)
Cause Uptown Funk gon’ give it to you
Cause Uptown Funk gon’ give it to you
Cause Uptown Funk gon’ give it to you
Saturday night and we in the spot
Don’t believe me, just watch (come on)
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Hey, hey, hey, oh!

[Outro]
Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up