‘Apollo 11’ Director Says Damien Chazelle Beat Him to Staging the Moon Landing: ‘That Was My Exact Idea’

Read on: TheWrapTheWrap.

When Todd Douglas Miller was editing his film “Apollo 11,” a sweeping, ambitious documentary about Neil Armstrong and the first moon landing mission, he envisioned building up to Armstrong exiting the lunar module, then silently cutting away into the widescreen, IMAX format to reveal the immense scope of the moon’s surface.

The only problem was, Damien Chazelle had done just that for his own film, “First Man.”

“I told Damien, that was my exact idea! We were editing pretty much around the same time,” Miller said he shared with Chazelle when the two met at Sundance. “I was at first a little angry, but the challenge was to come up with something else because I didn’t want to get into the same thing.”

Also Read: ‘Apollo 11’ Film Review: You Know How It Comes Out, But It’s Still a Hell of a Ride

Miller says “First Man” and “Apollo 11” “complement each other,” with both teams working closely with NASA and with the same chief historian. But they also both strip away the overt, starry-eyed patriotism of a story that everyone already knows. “Apollo 11” is made entirely with archival footage in a cinéma vérité style, and with the absence of talking-head historians or other scripted narration, the documentary gives a gripping, fly-on-the-wall vantage point inside the lunar module and the behind -the- scenes actions of the NASA command centers.

“I never saw Apollo 11 as something that was … I usually see it with a bunch of fanfare, chest-thumping, rah-rah moments,” Miller said. “I just want to see it as what it was. What did the astronauts experience? What did the guys at Mission Control experience? What did the people that witness the launch experience? What did that sound like? What did that feel like?”

In addition to the tense build-up to the launch, landing and re-entry, “Apollo 11” also features an intimate portrait of what American life was like in 1969. It overlooks a sea of a million faces, hairdos and sunglasses on beaches and in a J.C. Penney parking lot as they await the launch.

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Starting in 2016, Miller was tasked not just with making a documentary about the Apollo 11 mission, but also with digitally cataloging, scanning and restoring archival footage of the mission ahead of the moon landing’s 50th anniversary. And their project changed drastically when they uncovered a mountain of large format, 65mm film reels and 18,000 hours of audio footage, 11,000 hours of it pertaining to Apollo 11 specifically. It also included stunning 16mm and 35mm footage shot by NASA, all in color, of regular people gathering to watch the launch from afar.

“Obviously, what we saw, our jaws just hit the ground,” Miller said. “The rest is somewhat modern history, but the project just took off from there, and obviously the creative didn’t really change, but the process in which we were going to approach the film obviously made a major pivot after that day.”

While 50 percent of the large format footage has likely never been seen by the public, virtually the entire film is new, with the filmmakers taking great care to digitally restore the 16mm archival footage for its IMAX release. For instance, audiences should be familiar with the images of Buzz Aldrin, Michael Collins and Armstrong suiting up on the day of the launch, but it’s the large format film that gave a bigger picture of their surroundings and lent the moment some additional gravity.

Also Read: ‘First Man’: How Damien Chazelle Made That Terrifying Opening Scene

“It really stepped into focus for me when we saw another reel which was from a few days earlier during training. They did a dry run in that same room. They were suiting up, they got in the Astrovan, they sat on the rocket, got out of it, and came back,” Miller said. “When you juxtapose that scene on the dry run with what you see on the day of the launch in that quality, the weight of the world all of humanity is just written on their faces. It was just really chilling to me.”

After “Apollo 11” premiered at Sundance and it was acquired by Neon, Miller says that Neon’s Tom Quinn saw the film and said it “belonged on IMAX” screens. “Apollo 11” opens today, Friday March 1 for one week in IMAX, and will expand to regular format screens the week after.

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‘First Man’ Fact Check: Was the Moon Landing Really That Close to Disaster?

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10 Valentine’s Day Gift Ideas Inspired by Our Favorite Rom-Coms

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Stage Musical Version of Nicholas Sparks’ ‘The Notebook’ in the Works

Read on: TheWrapTheWrap.

A new stage musical is in the works based on Nicholas Sparks’ novel “The Notebook.”

Producers along with Sparks announced today that Bekah Brunstetter, a supervising producer on “This is Us,” and songwriter Ingrid Michaelson will collaborate on developing the new musical about the steamy love story that was originally adapted as a 2004 film starring Ryan Gosling as Rachel McAdams.

Kevin McCollum and Kurt Deutsch are producing in association with Sparks. Additional creative team members and a production timeline for “The Notebook” will be announced at a later date.

Also Read: ‘To Kill a Mockingbird’ Broadway Review: Aaron Sorkin Revisits Harper Lee’s Classic

The enduring love story is about a poor young man who falls in love with a wealthy young woman, only for them to be separated due to their cultural differences. The novel was originally published in 1996 and was adapted as a film by Nick Cassavetes in 2004.

“When I first heard about ‘The Notebook’ potentially being turned into a musical, I was instantly drawn to the idea,” Brunstetter said in a statement. “The story hits home for me in two big ways: it takes place in my home state of North Carolina, and Alzheimer’s runs deep in my family. I was sent a few songs Ingrid had already written for it, and that week, I spent my drives to and from work car-listening, memorizing, imagining the story unfold with music, imagining how I might layer worlds, dramatize memory, and before I even knew that I had to write the book for this, it was already starting to happen in my head,” she continued.

“The older you get, it seems, the more invisible you become, and yet, you have SO much to say — so putting an older couple at the forefront of a musical is thrilling to me. I am so excited to continue collaborating with Ingrid on bringing this beautiful story to life in a new way.”

Also Read: Ryan Gosling and Britney Spears Have a ‘Mickey Mouse Club’ Reunion on ‘Ellen’ (Video)

“When I was approached about working on ‘The Notebook’ I had to excuse myself and go to the bathroom and cry and come back into the meeting,” Michaelson said in a statement. “I have loved the movie and the story for so many years now that the idea of turning it into a musical overwhelmed me. The concept of unending devotion and love wrapped up in memory and family is something very close to my own personal life. The story sings to me so perfectly. I actually started writing that very night of the first meeting, before I even had the job! I cannot wait for the world to hear these characters come to life in a musical way.”

Also Read: 17 Top-Grossing Broadway Musicals of All Time From ‘Hamilton’ to ‘The Lion King’ (Photos)

“I am thrilled to work with Bekah and Ingrid in order to make The Notebook a reality on Broadway,” Sparks added. “They are amazingly talented, and obviously, the story is near and dear to my heart.”

Brunstetter’s most recent play “The Cake” opens at the Manhattan Theatre Club in the spring of 2019. Michaelson is the singer behind the Platinum singles “Girls Chase Boys” and “The Way I Am.”

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Pete Hammond’s Notes On The Season: Race Heats Up As ‘First Man’ Shoots For The Moon And Oprah Falls For ‘Black Panther’

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A column chronicling events and conversations on the awards circuit
Even though Christmas is almost upon us , Chunakah is in the rear view mirror, and 2019 is right around the corner we can’t say that has stopped the major studios from trying to …

‘First Man’ Sound Editors Capture Neil Armstrong’s Journey To The Moon With Authentic, Evocative Palette

Read on: Deadline.

After collaborating with Damien Chazelle on La La Land to the tune of three Oscar nominations, sound editors Ai-Ling Lee and Mildred Morgan embarked on a transformative odyssey with First Man, which defied their preconceptions of how sound might manife…

‘First Man’ Editor Tom Cross On The Sequence That Would Make Or Break The Film

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Damien Chazelle’s go-to editor since the time when Whiplash was just a short, Oscar winner Tom Cross threw out the musical playbook for First Man, tapping into a documentary approach he honed early in his career and had long since left behind. Cr…

In Concert With Luminys’ David Pringle, ‘First Man’ DP Linus Sandgren Develops The Strongest Film Light In The World

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With Damien Chazelle’s First Man—a radical departure from his work with the director on La La Land, which earned both their first Oscars—cinematographer Linus Sandgren boldly went where no no man has gone before, developing the strong…

Ariana Grande and Her Mother Roast Piers Morgan Over Ellen DeGeneres, Little Mix Digs

Read on: TheWrapTheWrap.

Ariana Grande and her mother have already gotten together for the Thanksgiving holiday — to take aim at British media personality Piers Morgan.

In the run-up to America’s national celebration of gratitude, “Thank U, Next” singer Grande and her mother Joan gave Twitter users plenty to be thankful for, as they went at Morgan with full force over comments he made about talk-show host Ellen DeGeneres and British girl group Little Mix.

The Grande women spent a healthy chunk of their Thanksgiving Eve railing on Morgan, after he cast DeGeneres as a hypocrite and accused Little Mix of ripping off the Dixie Chicks’ iconic, clothing-free Entertainment Weekly cover from 2003.

Also Read: Piers Morgan Shredded for ‘Woman Shaming’ Madonna: ‘Truly Vile Scum’

On Monday — also known as International Men’s Day in some social-media circles — Morgan bashed a video shared by DeGeneres of a montage of her celebrating men, with cheeky tributes to Idris Elba, Liam Hemsworth and Ryan Gosling, among other hunky showbiz males.

“Ellen drooling today over famous men’s bodies on #InternationalMensDay2018,” Morgan tweeted in response. “Yet I’ve been abused all day for complimenting @hollywills on her legs. The hypocrisy of modern feminism laid bare.”

The following day found Morgan calling out Little Mix over a photo of them posed with provocative words written on their naked bodies, in a manner reminiscent of the Dixie Chicks photo.

Also Read: Piers Morgan on the Gender Wage Gap: ‘I Don’t Understand Why Men Are Taking Pay Cuts’

“Hey @LittleMix – when are you going to admit you stole this idea from @dixiechicks?” Morgan wrote.

Ariana and Joan Grande didn’t take kindly to Morgan’s critiques.

“Honestly what is wrong with you @piersmorgan ? Didn’t your mother ever teach you, if you have nothing nice to say, don’t say it!” Joan Grande tweeted. ” You came for @TheEllenShow yesterday which was disgraceful, she is an angel. @LittleMix today, did you ever hear of paying homage? And..well never mind.”

Also Read: Ariana Grande’s ‘Side to Side’ Is a Ripoff, Lawsuit Says

The elder Grande subsequently tweeted, “Damn… I was so caught up in my own little twitterverse that I missed my genius daughter @ArianaGrande actually handling the situation… hahaha I am a proud mother who raised a magnificent, beautiful, talented FEMINIST daughter!! Ariana … yay!”

Oh, yeah; Ariana was handling it, alright.

“Ellen is an incredible & kind human being.. I use my talent AND my sexuality all the time because i choose to. women can be sexual AND talented. naked and dignified. it’s OUR choice,” the singer tweeted, adding, “we will keep fighting til people understand. i say this w all due respect but thank u, next.”

Also Read: Piers Morgan Goes Into ‘Twitter Detox’: ‘I Can’t Stomach Any More’

To which Morgan replied, “Hi Ariana! How lovely to hear from you so soon after your mother. Of course, women can do what they like – but if they/you use nudity to sell records to impressionable young female fans, I’ll continue to call them/you out on it. All due respect, but thank YOU. Next…”

But the younger Grande wasn’t done raking Morgan over the coals just yet.

“also @piersmorgan, i look forward to the day you realize there are other ways to go about making yourself relevant than to criticize young, beautiful, successful women for everything they do,” Grande wrote. “i think that’ll be a beautiful thing for you and your career or what’s left of it.”

Ouch.

“Now now, young lady – my career’s doing just fine thanks,” Morgan responded. “For the record, I criticize/praise everyone – male, female, gender-fluid. Indeed, I’ve written columns praising AND criticizing you, and you deserved both.”

Got a craving for a Twitter spat? Fill up on the whole saga below.

Hey @LittleMix – when are you going to admit you stole this idea from @dixiechicks? pic.twitter.com/dLRX2TMv2k

– Piers Morgan (@piersmorgan) November 20, 2018

Ellen drooling today over famous men’s bodies on #InternationalMensDay2018.
Yet I’ve been abused all day for complimenting @hollywills on her legs.
The hypocrisy of modern feminism laid bare..
My column: https://t.co/51EV8fbBvV https://t.co/myUb83jV9C

– Piers Morgan (@piersmorgan) November 19, 2018

Today and tomorrow let’s focus on light and love and being grateful. I am grateful for so so many people in my life, I am grateful for my family, friends and all those people I have met and yet to meet! Thank you for what 2018 has taught me and most importantly #ThankUNext!

– Joan Grande (@joangrande) November 21, 2018

Damn… I was so caught up in my own little twitterverse that I missed my genius daughter @ArianaGrande actually handling the situation… hahaha I am a proud mother who raised a magnificent, beautiful, talented FEMINIST daughter!! Ariana … yay!

– Joan Grande (@joangrande) November 21, 2018

Hi Ariana!
How lovely to hear from you so soon after your mother.
Of course, women can do what they like – but if they/you use nudity to sell records to impressionable young female fans, I’ll continue to call them/you out on it.
All due respect, but thank YOU. Next… https://t.co/PpRK5Wqs92

– Piers Morgan (@piersmorgan) November 21, 2018

Now now, young lady – my career’s doing just fine thanks.
For the record, I criticise/praise everyone – male, female, gender-fluid.
Indeed, I’ve written columns praising AND criticising you, and you deserved both. https://t.co/vfsDNqzYLl

– Piers Morgan (@piersmorgan) November 21, 2018

Now now, young lady – my career’s doing just fine thanks.
For the record, I criticise/praise everyone – male, female, gender-fluid.
Indeed, I’ve written columns praising AND criticising you, and you deserved both. https://t.co/vfsDNqzYLl

– Piers Morgan (@piersmorgan) November 21, 2018

Is that your screensaver? https://t.co/S0DgkhCQpz

– Piers Morgan (@piersmorgan) November 21, 2018

????????????
Methinks the lady doth protest too much. https://t.co/QQXtuLj4fN

– Piers Morgan (@piersmorgan) November 21, 2018

Since I’ve got your attention @ArianaGrande – want to come on @GMB on Monday to settle this like mano-to-womano?
We can bring our mothers too, if you like.

– Piers Morgan (@piersmorgan) November 21, 2018

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Notes On The Season: AFI Fest Opens And Ruth Bader Ginsburg Steals Spotlight; Crazy Rich Actors Hit Early Awards Circuit

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Robert Durst Murder Trial Seeks Ryan Gosling Movie Screening To Convict Heir

Read on: Deadline.

Ryan Gosling is attracting a lot of award season attention right now for his role as Neil Armstrong in First Man but for the Los Angeles County District Attorney today the moonshot is all about his thinly veiled portrayal of Robert Durst in 2010’…

LA Prosecutor Seeks to Use Robert Durst’s Interview for Ryan Gosling’s ‘All Good Things’ DVD at Murder Trial

Read on: TheWrapTheWrap.

Prosecutors in Los Angeles are seeking to admit real estate scion Robert Durst’s DVD commentary for the 2010 Ryan Gosling film “All Good Things” into evidence at Durst’s upcoming murder trial.

In paperwork filed in Los Angeles Superior Court on Tuesday, district attorney Jackie Lacey and others have asked that the commentary be admitted as evidence of “adoptive admission.”

Prosecutors contend that the film, while fictional, was based on Durst’s case, and that Durst told filmmakers on camera that he felt the drama “was very, very, very close in much of the ways about what, pretty much, happened.”

Also Read: Robert Durst Says He Regrets Doing HBO’s ‘The Jinx’

“All Good Things, although a ‘fictional’ movie, was specifically based and marketed as the story of the disappearance and death of defendant Robert Durst’s (‘Defendant’) wife, the subsequent murder of his best friend, and the killing of his neighbor and confidante in Texas,” the paperwork reads.

“The movie pulled no punches; it made clear that the character based on Defendant had personally killed his wife in New York, planned and directed the murder of his best friend in California, and personally murdered his neighbor in Texas. The movie further alleged that Defendant’s spree of violence had begun years earlier with the senseless killing of his dog.”

However, the paperwork says, despite all that, Durst complimented director Andrew Jarecki’s film, which starred Gosling as the Durst-like “David Marks” and Kirsten Dunst as David’s murdered wife, Katie.

“After reading the script and watching this movie, Defendant did not sue the production company for slander, nor did he object to how the movie portrayed him. Instead, he contacted the director and expressed how much he had enjoyed the film and agreed to sit for a series of interviews, including the DVD commentary for the movie,” the paperwork reads.

Also Read: ‘The Jinx’ Star Robert Durst Appears in Court Ahead of Murder Trial

“When Defendant was asked on camera about his feelings about a film which had alleged that he had murdered three people and a dog, he responded, not with denials, but by stating, ‘I felt the movie was very, very, very close in much of the ways about what, pretty much, happened.’”

Tuesday’s paperwork contends that Durst’s comments amount to “adoptive admissions.”

“The evidence is clear that these adoptive admissions by Defendant were freely, knowingly, voluntarily, and intelligently made. Not only were they relayed under circumstances where Defendant had a clear understanding that the interviews would be utilized for the DVD commentary, and what would eventually became the HBO miniseries, ‘The Jinx,’ but they were made when Defendant had legal representation present,” the paperwork reads. “For these reasons, as explained more fully infra, this evidence must be presented and evaluated by the trier of fact.”

Also Read: Robert Durst Says He Was High on Meth While Filming HBO’s ‘The Jinx’

Durst’s attorney had no comment for TheWrap on Tuesday’s motion.

Real estate scion Durst is facing murder charges for the 2001 death of his friend Susan Berman.Durst has pleaded not guilty to the murder of Berman.

Pamela Chelin contributed to this report.

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Robert Durst Says He Regrets Doing HBO’s ‘The Jinx’

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‘The Jinx’ Star Robert Durst Appears in Court Ahead of Murder Trial

What Do Words Cost? For ‘First Man,’ Perhaps, Quite A Lot

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‘First Man’ Is One Giant Leap for IMAX’s Plans Beyond Blockbusters

Read on: TheWrapTheWrap.

For most moviegoers, IMAX is probably associated with two kinds of films: the nature documentaries that you see at museums, or the biggest movies of the year like “Avengers: Infinity War” or “Jurassic World.” But with “First Man,” IMAX is taking another step beyond the tentpole fare that drives much of their annual box office revenue.

Only a small number of films a year get the full promotional support of IMAX and extended engagement on the company’s 400-plus domestic screens. Those spots are reserved for what the company calls DNA films — movies that use IMAX technology. Last year, IMAX partnered with Warner Bros. and longtime collaborator Christopher Nolan to make the Oscar-winning film “Dunkirk” into one of those DNA films.

Also Read: ‘First Man’ Gets Bigger and Bolder in Toronto IMAX Premiere

For a WWII film that caters to older audiences, to be one of those DNA films was a departure from the popcorn flicks that usually serve as IMAX’s main moneymakers. But the move paid off as IMAX accounted for 15 percent of the film’s $527 million global gross.

Now IMAX is taking a similar approach with “First Man,” another non-tentpole directed by Damien Chazelle, with the film’s climactic sequence on the moon filmed with IMAX cameras in 4K. IMAX Entertainment CEO Greg Foster said that their interest in helping make “First Man” and “Dunkirk” into DNA films wasn’t about their Oscar potential. It was about working with filmmakers.

“We are about building relationships with people who are in it for the craft. Directors, cinematographers, producers, all of them,” Foster told TheWrap. “We met with Damien and his D.P., Linus Sandgren, and they were very enthusiastic about using the IMAX format and digging into the nuts and bolts of it.”

Also Read: ‘First Man’ Lifts Off This Weekend to Steep Box Office Competition

Though only a few minutes of the film actually used IMAX cameras and are presented in the format, Chazelle and his team used IMAX technology throughout the film. The scenes with NASA missions and tests had their sound design tailored for IMAX sound systems, making the audience feel as if they are right there with Neil Armstrong as the roar of the rocket lifting off rattles their seats. Post-production was also done with IMAX technology to give the film a grainy visual quality akin to old NASA test footage.

But it was the chance to give the moon a larger-than-life feel that starkly contrasts with Armstrong’s life on Earth that interested Chazelle most.

Also Read: ‘First Man’ Film Review: Ryan Gosling and Damien Chazelle Slip the Surly Bonds of Earth

“We were always very conscious that the film opens up when you get to the moon, so we wanted it to feel like ‘The Wizard of Oz’ when Dorothy arrives in Oz,” Chazelle said.

“But it also made us mindful in the rest of the movie of what’s going to hold up in the format. I was really surprised with how a lot of the 60mm photography was also able to hold up well in IMAX. With their technology, we were able to reduce the grain so it wouldn’t be distracting at important moments but also lean into it when it felt appropriate, and with the sound we could range from the really intimate moments to these bombastic moments with the launch.”

Beyond top directors like Nolan and Chazelle, IMAX also wants to form the same sort of relationship with filmmakers across the Pacific, holding symposiums with directors from China and India. It is also making plans to create DNA films out of projects being filmed in and for Asian countries.

“We want to show them that our skills are available to them to create any kind of movie, whether it’s a tentpole movie or something more intimate,” Foster said.

Also Read: ‘First Man’ Fact Check: Did Neil Armstrong Really Leave That Bracelet on the Moon?

And back in the States, it won’t just be biopics and war films that get the IMAX treatment. While the format is often used for awe-inspiring vistas, enormous beasts, and larger-than-life heroes, its immersive quality can also be used to draw a viewer into a terrifying, claustrophobic nightmare. And because of that, Foster believes that horror will soon become a fertile ground for DNA films as well.

“Five years ago, or even three years ago, I probably wouldn’t have said that,” Foster said. “But it’s clear that there is so much interest from moviegoers and filmmakers alike in horror. Next year, we will have ‘It: Chapter Two’ on our screens, and I think that as more directors start to really experiment with what can be done with horror films, there will be lots of opportunities for IMAX to be a part of that creative process.”

It’s an intriguing frontier for IMAX to step into. But one small step for the studio could be a giant leap for directors looking to blow their audiences’ minds.

Related stories from TheWrap:

‘First Man’ Fact Check: Was the Moon Landing Really That Close to Disaster?

‘First Man’ Fact Check: Did Neil Armstrong Really Leave That Bracelet on the Moon?

‘First Man’ Film Review: Ryan Gosling and Damien Chazelle Slip the Surly Bonds of Earth

Ryan Gosling and Britney Spears Have a ‘Mickey Mouse Club’ Reunion on ‘Ellen’ (Video)

Read on: TheWrapTheWrap.

It’s a reunion 90-year-old Mickey Mouse would love.

At the “Ellen” show on Friday, former “Mickey Mouse Club” members Ryan Gosling and Britney Spears were reunited for the first time in what felt like forever. In fact, neither star could even remember the last time they’d run into the other.

“Neither one of us could remember,” Gosling told his host. “Which I think is a sign that it’s been a while.” What the “First Man” star did remember was Spear’s “freakish” talent.

Also Read: ‘First Man’ Film Review: Ryan Gosling and Damien Chazelle Slip the Surly Bonds of Earth

“I remember when we first got to the show, they sort of had all the kids perform for one another,” he said. “I remember it was Christina Aguilera and then Britney performed. And I remember thinking, ‘ohhh, OK, so they’re, like, freakishly talented.’ You know? I was used to working with talented people, but that was another level.”

So what talent did Gosling bring to the show?

“I think I was just like, ‘I’m Canadian!’” Gosling said with a little jazz hand, to cheers from the audience. “And they were like, ‘Good.’”

Spears was visiting the show to make a big announcement … that she will be making an announcement on Oct. 18.

Watch the clip above.

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‘First Man’ Launches With $1.1 Million at Thursday Box Office

Read on: TheWrapTheWrap.

Universal Pictures’ “First Man” grossed $1.1 million in previews on Thursday from 2,850 theaters.

The studio is projecting an opening weekend of $15-18 million, with independent trackers pushing their expectations up to $20 million. In comparison, Tom Hanks’ “Bridge of Spies” took in $600,000 before it grossed $15.4 million its opening weekend. “Deepwater Horizon” earned $860,000 and finished with $20.2 million. “Arrival” grossed $1.4 million in previews before earning $24 million its opening weekend.

“First Man” is the followup for director Damien Chazelle after winning the Oscar for Best Director for “La La Land” last year, with Ryan Gosling from his “La La Land” team joining him.

Also Read: ‘First Man’ Fact Check: Did Neil Armstrong Really Leave That Bracelet on the Moon?

Based on James R. Hansen’s detailed recounting of the Apollo 11 lunar mission, “First Man” stars Gosling as Neil Armstrong and delves into the personal life and inner mind of the famous yet very reserved astronaut, particularly how the death of his infant daughter impacted him. Claire Foy also stars as Armstrong’s wife, Janet. Josh Singer, who co-wrote “Spotlight” and “The Post,” penned the screenplay.

Produced for $60 million, “First Man” holds a “fresh” score of 89 percent on Rotten Tomatoes.

“First Man” will face off against Fox’s “Bad Times at the El Royale” and “Goosebumps 2: Haunted Halloween” this weekend. The former is set to open in the low-to-mid teens, while the latter is looking at a $14 million opening after taking in $750,000 from 2,993 locations.

Also Read: ‘First Man’ Fact Check: Was the Moon Landing Really That Close to Disaster?

“El Royale” features an ensemble cast including Jeff Bridges, Dakota Johnson, Jon Hamm, Chris Hemsworth, and Nick Offerman as a group of individuals who check in to the seedy El Royale hotel on the border of California and Nevada. Soon, secrets are revealed and bullets fly as everything goes horribly wrong.

Drew Goddard wrote and directed the film. It is rated 75 percent “fresh” on Rotten Tomatoes.

“Goosebumps 2” has Jack Black return to reprise his role as a fictionalized version of Stine, with “It” star Jeremy Ray Taylor, Caleel Harris and Ken Jeong also starring. Produced for $35 million, “Goosebumps 2” was directed by Ari Sandel and holds a score of 39 percent on Rotten Tomatoes.

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