March 31, 2015 at 10:52 pm #183255
Sounds great! Any release date yet?July 12, 2015 at 12:35 am #183256
Eva (MACLAINE), a widow and retired history teacher, enjoys a quiet life in a small town. Everything changes when Eva receives a life insurance check made out for $5,000,000 instead of the expected $50,000. At the not so gentle urging of her best friend Maddie (LANGE), Eva deposits the money and they run away to the Canary Islands to experience the glamorous life. However, their fantasy is short-lived. They quickly become fugitives forced to outwit conmen, confront a Spanish warlord, and outmaneuver a dogged insurance agent who has teamed up with Eva’s daughter (MOORE) to find them.July 12, 2015 at 3:36 am #183257
Sorry to those who care…..this film is pure garbage..
What were MACLAINE AND LANGE thinking???July 12, 2015 at 11:28 am #183260
Yes I suffered through this silly film. Why does Lange have to play everything over the top sexy? And poor MacLaine needed a better DP. She was sabotaged and her look is a bit startling. The script reads like a typical buddy film for aging broads. These 2 are perfect for the Baby Jane remake. Redeeming value? Yes, actress icons are always “fun” to watch but judging this film was easy. I hoped for better.July 12, 2015 at 11:35 am #183261
It seems like you had a real averse reaction to this pic. I’m sorry you didn’t enjoy the pic 🙁
If I could bother you with one more question: Does Lange have a singing scene in a bar?
July 12, 2015 at 11:40 am #183262
P.S. For what it’s worth, I’ve only found three reactions to the movie, and they’re all positive.
Michael McAdam @mikemcadam
#wildoats advanced screening Jessica Lange @maclaineshirley give great performances and the movie is really funny @justdemi great too 8/10
jeff houkal @jeffhoukal
Just saw a sneak preview of Wild Oats! Funny #wildoats #movie
Another exciting change is that I get to go to one of the company screenings! Danny takes me to a showing of Wild Oats, starring Shirley Maclaine and Jessica Lange, so I can see what happens at more business-oriented screenings like this. You need a Festival badge to get in, and it’s generally for people who are either interested in buying the film and want to get a taste of what it’s like or people who have already bought it and want to see the finished product.
Danny leaves after maybe the first 15 minutes, but I get to stay and finish the movie and keep track of how many people are still left by the end. Generally buyers don’t stay for the entire film, sometimes because they have other meetings or screenings to get to, and sometimes because they can tell pretty early in whether or not it’s a good fit for their company. Far as I could tell, it seemed like there was still a decent amount of people left by the end, and the movie seemed to have a really positive response – people were laughing out loud!
On a sidenote, Wild Oats is a really fun movie, and I thought that it was really exciting that the two lead characters are women over the age of 60!August 5, 2015 at 9:10 pm #183263
For those wondering, the above screenname was my first attempt at coming back, but for some mysterious reason, I cannot login to that profile even when I change the password. I like this profile better.
Anyway, I have some sad news from Shirley M. herself, per her latest “ShirleyGram”:
Wild Oats, the movie I made last year in the Canary Islands and New Orleans, has hit a snag. I don’t know when – or if – it will be released which is a huge disappointment to Jessica Lange and me. We really enjoyed making the picture and thought it was a fun romp. But the money behind it doesn’t think it’s a theatrical release. In other words a couple older broads that will make you laugh can’t compete with super heroes, at least in terms of box office dollars. That’s the way the industry is these days. No longer are there distributors that will back a movie because it had great characters. If a character movie makes it to theater it has to be geared to the uber-teens hormone imbalances. Oh well. I will keep trying to make movies that people over 40 can enjoy.
Let ’em have it, Shirley!
Knowing Harvey, this might just go straight to VOD. Maybe the film is “garbage”, as someone posted above, but we’re subjected to enough garbage in actual theaters to warrant a little respect for two old legendary vets. Why not at least a limited release to test things out? I’d also love to see how Lange’s popularity with AHS would translate at the box office.
Still, there may be hope yet, because I’ve seen a few rumors online placing this as a November release. Also, all but one (the one above) of the reactions to the screening have been quite positive.
Here’s hoping for MACLANGE:
[img]http://www.theexchange.ws/wp-content/uploads/2013/09/WO-webposter.jpg[/img]March 19, 2016 at 8:48 am #599933
New film poster has been uploaded on IMDb, with rumblings that this is looking at a late Spring-to-Summer release.
So, Shirley MacLaine’s memoir – part past life regression regarding Atlantis/part making of “Wild Oats” is a must read. Her observations and anecdotes are funny, insightful and informative. We learn that “Wild Oats” basically had no secured budget. Lange and Demi Moore would opt to defer their salaries so the crew could get paid. Maclaine would follow suit. Here are some interesting excerpts:
I don’t have any idea what happened with Jessica that particular day. What concerned me was what effect the disruption would have on Jessica’s performance. We had a dramatic scene to play in the hot sun, a scene in which she was supposed to cry. We absolutely had to get the scene within the hour or we would fall behind and there was no money to cover a reshoot. Jessica pulled herself together. Andy yelled, “Action.” Without a moment to prepare and with a jittery crew looking on, Jessica was brilliant in the scene and cried exactly on cue. I couldn’t believe it. “Cut!” I said, “Jessica, you are good, good, good. How did you do that?” “I guess I have a well of sorrow in my life,” she answered with a little smile. I thought of Misha Baryshnikov and Sam Shepard, but I didn’t ask one single question. I knew I was in the presence of a great actor.
My original costar was Jacki Weaver. Because Jacki finally took work on a television series and had to withdraw, over the next five years we at various times welcomed to the cast Kathy Bates, Jane Fonda, Bette Midler, and finally Jessica Lange. That’s just one part of what went on during the five years it took to get ready to shoot. Thanks to amateur decisions, stupid contracts, and scattered decision making, five hundred thousand dollars had been spent even before we landed in the Canary Islands. I came across the world with Jessica. I had never met her, but when I called her, concerned about the state of the production, her words echoed in my ears: “Even if the money isn’t there and we don’t make the movie, they’re paying for my trip to have mojitos on the beach in the Canary Islands.”Â That made sense to me, and besides, she liked the script. Neither of us knew who was cast with us. I gave up trying to keep track. At various times, there had been Alan Arkin, Jim Brolin, Donald Sutherland, Frank Langella, Brian Dennehy, Jon Voight, Kelsey Grammer, John Lithgow, and Christopher Walken.
Jessica’s schedule was a problem be because she had to complete her work on our picture so she could report to American Horror Story in New Orleans on a specific and unmovable date. It was in her contract. So the morning after we arrived, she shot her first scene. It was a comic love scene with a young man her character had picked up in a restaurant. It involved shoving him up against the wall and jumping on him because her husband had left her and she was free to do all the outrageous things she had repressed until then. I heard she was funny and abandoned and the scene worked. I was in my room trying to sleep. Off set, Jessica was sweet, a pro, not social, beautiful, intense, and a brilliant dramatic actress. I liked her a lot and assured her she would be funny. We had many conversations about the men in our lives, which will certainly not be shared here.
Andy called for Jessica, Demi, and me to join him on the patio. He outlined what the money situation was. He was open and specific. He told us that he was going to defer and asked if we would too. He said, “The footage is wonderful. Jessica is funnier than she thinks she is, and you, Shirley, are a machine.”Â What does that mean? I wondered. Was I a machine because I was always on time, knew my lines, and could act? Did that make me a machine? I understood that my work ethic was reliable, but how was my performance? I just knew Jose Luis was photographing me to look forty and I was worried. The roles for me now were definitely older women. That’s where the work was. I actually hoped I didn’t look too good. Jessica and Demi and I carried on the conversation when Andy left us. About ten of the below-the-line people (crew, production, etc.) had deferred part of their salaries. Now was the time for above-the-line (actors, directors, writers) to step up to the plate. Jessica and Demi said, “Let’s call our manager.”Â (They had the same one.) I didn’t have a manager. I had an agent who knew the business better than anyone and was going to order a Sicilian hit on whomever he could round up. He had specifically said to me, “Do not defer before talking to me.”Â Now he couldn’t get anyone on the phone. Production people didn’t just fall off the turnip truck either. That’s why they didn’t accept his calls. There had been divisive scenes in the production office. The Americans couldn’t get along or understand the Spanish way of working. The Spanish felt that Nick, the AD, yelled too much at the crew. But we all knew that an AD has to be a mixture of Hitler and Gandhi. The Spanish had a different sense of time”more laissez-faire, more concerned with manners and polite politeness. The American way of working was get the job done in as little time as possible because time is money. There had also been arguments as to who was in charge of what. I saw in action how matriarchal the Spanish pecking order was. The men might be macho strutters, but it was the women in charge of an aspect of production who snapped the decision-making whip. A woman headed up the Spanish production company, which provided all the equipment, cameras, and gear, and everything else that the below-the-line crew needed. Apparently, she had also put four hundred thousand toward the budget. The American way of working would have to defer to the Spanish way. I laughed to myself. Deferment seemed to be something the Americans were going to have to get used to in order to get the movie made. Jessica and Demi’s manager didn’t spend much time on the phone with them. “If that’s what you want to do, go for it,”Â he said. They were willing. So now it was up to me. What bothered me, even in my state of liberal, bleeding-heart flexibility, was that we would be the last to get paid, after all the other investors were paid off (assuming the picture made any money at all). We three would actually be investors, but with a third or fourth position of recoupment. That could really mean we would have worked for nothing, or close to it. Was that fair? I told Jessica and Demi that I thought we should defer half our salaries, but I wanted to get a specific recommendation from my agent. And my agent wasn’t on vacation. So we broke up the meeting and scattered before the horrible band started their first set.
We were coming to the end of our Wild Oats adventure, which to me had been about venturing into the distant prehistory of humankind and our cosmic neighbors. So there we were, shooting the last scene. It was a funeral scene because my husband had died. Jessica, sitting by me, began to cry. It was my husband who died! It escalated into a full-blown, no-holds-barred, total nervous breakdown performance. She was Blanche DuBois on crack. Brilliant. What did I do? I played straight man to her comedy supernova— the same comedy that she didn’t think she could do. She then said to Andy, “I want more footage!” I was flabbergasted. She writhed around in Hollywood parody, claiming there had not been enough cameras on her and we should spend the time doing it over and over again. Was she really crying? Acting is a mystery even to those of us who are good at it. Life was show business, and Jessica was eating up the scenery with her last scene on purpose. Bravo.
Just delicious.March 19, 2016 at 8:51 am #599936
Pretty stunning that Andy Tennant, who has some real hits under his belt (“Ever After,” “Sweet Home Alabama,” “Hitch”), presided over such a dysfunctional production.
This’ll see the light of day eventually, on VOD.March 19, 2016 at 9:39 am #599943
I really hope it gets a theatrical release. The behind the scenes stuff is enough to get people in the theaters, lolJuly 9, 2016 at 9:50 am #1201861485
Upcoming Theatrical release, possibly at Telluride?
Completed in July of 2014 with post-production wrapping up in February of 2015, this film has had many release dates. Shirley MacLaine wrote extensively about shooting the film in her memoir “Above the Line”; from sudden casting changes, to a dwindling budget, to her great time working with Jessica Lange, to the mysteries of Atlantis, MacLaine covers it all.
It apparently contains one of Lange’s sexiest and most exuberant performances in years.
How long after receiving a rating does a film get released?
Also, this blog wrote about it’s chances at appearing at Telluride.July 9, 2016 at 10:15 am #1201861490
They should sell this to one of the cable networks (from what I understand it might have some scenes not suitable for network TV) so it can compete at the Emmys. Doesn’t really worth the struggle. OR maybe they should try one of those streaming companies, they are buying anything and everything and this would work for them too. Respected actresses in a movie that might help them become players at Oscars. 1 or 2 weeks of a limited release should be enough.
I don’t know, maybe the movie is really shit so that’s why they couldn’t find a sponsor yet.