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‘Michael’ Movie Director Talks Reshoots And Controversies: Q&A

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5 months ago

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Antoine Fuqua notched the best opening of his career at the box office this weekend as his Michael Jackson biopic Michael, from Lionsgate and Universal, debuted to $97 million in the U.S. and $217.4M worldwide. The sweat truly paid off for the director, who cut his teeth doing music videos for Toni Braxton, Stevie Wonder, Prince as well as Coolio’s “Gangsta’s Paradise.”

Quite often, the movies that last for ages — i.e., The Godfather, Chinatown, Titanic — are those that have the most daunting behind-the-scenes moments. Fuqua was thrown a curveball after finishing production on Michael: the movie’s finale originally featured Jackson accuser Jordan Chandler, whose settlement with the singer’s estate guaranteed they would never be dramatized. The estate said mea culpa and took on the extra cost of $50M in reshoots, taking the pic’s net production cost to $200M. Fuqua had to pass on other jobs as additional shooting on Michael lasted 20 days.

We caught up with the filmmaker Sunday morning on his way to Italy, where he’s shooting the Netflix Denzel Washington feature Hannibal, to talk about making Michael a reality.

DEADLINE: Did you ever meet Michael Jackson?

ANTOINE FUQUA: No, just a phone call when I was being considered as a director for “Remember the Time.” I was in Italy, so I couldn’t be part of the bidding on that one. He was a quiet, sweet guy. It wasn’t so much an audition or anything like that, it was more him saying hello and how much he liked my work. It was like he was touching base with me. It wasn’t a long phone call.

DEADLINE: When the opportunity arose to direct Michael, did you have to pitch yourself or was it as simple as Graham King saying, ‘You’re the guy’?

FUQUA: Bob Richardson, the DP, we were working on Equalizer 3 together, and he showed me a photo of Michael Jackson and him on the set. And I said ‘Bob, how do you look exactly the same with long grey hair with Michael? He said, ‘That isn’t Michael, it’s Jaafar, his nephew, they did a test.’ And it blew me away. He told me that Graham King really wanted me to do this Michael film and I hadn’t read the script yet. After that, Graham flew to the Amalfi Coast and we sat down, talked about Michael, and that’s when it started. He talked to me about any concerns I might have, and I read the script, and I was in.

DEADLINE: Lionsgate tells me you had a very strong take on what Michael should be. Can you share that with us?

FUQUA: I wanted to humanize Michael. I wanted people to get to know him: How eccentric he was, how he was as a young man. I always felt that younger generations didn’t know Michael or his story. In order to tell anything about Michael, you had to remind people about the magic of him, the power of the music, and the fun that he brought into the world and his own insecurities. He’s one of the most complex characters to tell a story about. My approach was to ground him as much as we can, so that he’s relatable to anyone outside of being on that stage.

DEADLINE: The way that the movie is paced is nuanced, and yet suspenseful given the dynamic between his father Joe Jackson and himself. You never know when Joe is going to snap.

FUQUA: It’s delicate. You can’t escape that situation when you live with your parent. So, he’s always in that trapped position. It has to do with how Michael responded to animals, like Bubbles [the chimp]. That says a lot about Michael rescuing other people who felt that they were being abused, mistreated. He would do whatever he could to help others. So, animals were easy for him because he’s always been that way since he was a kid. He rescued [them], and that was part of his nature.

DEADLINE: In terms of everything that happened where you initially shot the film, and then the whole upending between the dramatized accuser and the estate… Has there ever been a challenging film such as this in your career?

FUQUA: All movies have different challenges, but this one was really unique. It was an extra punch in the gut for me at that moment, because I was in the exact same situation with Emancipation. I was literally handing in the director’s cut when Will [Smith] slapped Chris [Rock]. I was floored and devastated and knew what that meant overall and that the movie would be written off. This was a similar situation, because I was handing in the director’s cut and I get this call. That was a tough day.

DEADLINE: It’s clear the groundwork you’ve laid in Michael in regards to telling the story in a sequel about the accusations brought against him. The fact that it wasn’t addressed in Part 1, did that weigh heavy on your mind and the studio’s?

FUQUA: It definitely did for a while, because we had to rethink everything. That was a tough period. Graham, [screenwriter] John Logan and I banged our heads around. We had a lot of meetings. But we clicked into it at the same time: The movie is called Michael so you have to focus on Michael. Unless you can truly take your time, let’s go back to the beginning and really show people who he was on the stage. He’s a superhero on the stage. Just like a human being, movies have the power of empathy to just say this is a human being. No one is perfect. It was important to take the audience through a process of how do you get to wherever it’s going to go in a second movie; for people to get a bigger idea of his personality and what shaped him.

What we realized, if you start there, some people who don’t know Michael, it’s out of context. His arc was so extreme. It was important for us to go back, and give them a journey to go on with Michael. There was also a certain amount of abuse he was always dealing with emotionally and physically in that household with his father. If you don’t do that, you won’t understand him and where the story goes. We planted the seeds: He starts talking to John Branca about the pills, ‘These pills are making me sleepy and the doctor is saying you gotta take these pills’; that’s what killed him. So, it was set up along the way that these are the things that led to wherever it’s going to go which we all know. That’s part of the tension you feel, because you know it didn’t end well, unfortunately.

DEADLINE: How long did it take John Logan to write the additional scenes?

FUQUA: I can’t remember the exact amount. We were writing while we were shooting. As we were shooting, we were discovering things. We had the structure down. Once we had that, Graham and I would go through that, then we’d sit with John. It was a lot of digging and going back at scenes we had before.

DEADLINE: You have a third of footage that can go into the potential sequel?

FUQUA: Absolutely.

DEADLINE: Did you shoot through the end of his life? Or did you shoot up until “Remember the Time”?

FUQUA: We went pretty far. We went through the Jordan allegations we couldn’t use. We went farther than that. Maybe a year or two after that (1995) when things turned against Michael.

DEADLINE: How did Jaafar Jackson come to win the role? Were there others up for it?

FUQUA: When I saw the photo I was blown away, but that’s a photo. When I came back from Italy we set up a whole make-up and camera test. There were others as well in the mix. But when I came back, Graham met Jaafar before him. When I got back, I had breakfast with Jaafar and I could see how gentle and elegant he was, just a kind of person, you could see the DNA of Michael. I wasn’t sure if he was auditioning. Then I spent time with him, and he wasn’t sure he wanted to be an actor. But I know this was something, if he was going to do it, he was going to go all in. Graham had him take some acting lessons. When I got involved on the set, and he was dancing, I threw a question at Jaafar that he didn’t know was coming. I was rolling and I asked him a question like he was Michael. The room stopped, it was almost spiritual: He answered my question as if he was Michael. [Director of photography] Dion Bebe who was helping out with the test, he had tears in his eyes, and half of the crew did. It was so powerful. I thought he could do it. Because he didn’t know I was going to ask him that question and he didn’t know that I was rolling. I wanted to see if he could stay in the moment and be Michael.

Then there’s the whole idea can he do it in front of a whole cast and crew. I went over to Havenhurst where he was living, rehearsing and practicing. The walls were covered in Michael but with detailed graphs, it was like A Beautiful Mind. So, he’s in it, but can he do it the day of? We started with Bad with a big show on the Sony lot with a 1,000 extras and lights, a big show. Here ya go, kid, throw you into the fire. And he blew my mind. I watched him do it over and over again with the dance moves, until his feet were bleeding, but also the acting routine.

DEADLINE: If there’s a sequel, is it certain you will direct?

FUQUA: I would like to, it’s just about scheduling. It would kill me if somebody else did it.

DEADLINE: As far as a Janet Jackson movie… I know that she opted not be involved in Michael and the rumor is that she wants to do her own feature. Have you had any conversations with her about that?

FUQUA: I have not. I’m a fan of Janet, for sure.

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Disney Unveils Oasis Doc Premiere Date Of October 9

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September 28, 2026

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Disney has unveiled premiere date for Steven Knight’s Oasis documentary on Disney+ and Hulu.

The feature will land on October 9, just two weeks after tickets to Oasis’ next round of tour dates were snapped up, including some shows in the U.S.

Oasis: Don’t Look Back in Anger has already had a theatrical run where it became the UK’s highest-grossing documentary feature film of 2026. Described as an “unapologetically uplifting account of the biggest musical event of 2025,” Knight’s movie charts Liam and Noel Gallagher’s reunion tour, Oasis Live ‘25, which was one of the most anticipated rock ‘n’ roll comebacks in years.

The film from Magna Studios and directors Dylan Southern and Will Lovelace features material from a rare joint interview between the Gallaghers, along with plenty of coverage of the sold-out concerts. Peaky Blinders creator Knight, a huge fan of the band, is writer-creator.

Angela Jain, Head of Content, Disney+ EMEA, said: “The great wait is over…as we now bring Oasis: Don’t Look Back In Anger to as many people as possible through Disney+, and to be doing it with exclusive unseen footage too, is so exciting for fans. The Oasis reunion has been one of our defining cultural moments of recent times. We have seen how the documentary has resonated with audiences around the world as they celebrate the power of Oasis and music through this evocative and moving reunion story.”

Oasis featured for the first time in a Saturday Night Live UK cold open over the weekend, with the Gallagher brothers revealing themselves as Russian spies after almost convincing Prime Minister Andy Burnham to join them.

Featuring never-before-seen footage, the film is a Magna Studios production, presented by Sony Music Vision in association with Sony Music Entertainment UK. The producers are Sam Bridger and Guy Heeley. The executive producers include Kate Shepherd, Marisa Clifford, Davud Karbassioun, Rob Stringer, Tom Mackay, Krista Wegener, Thomas Benski, Isabel Davis, and Tim O’Shea, with Oscar-winning sound mixers James Mather and Tarn Willers, cinematographer Haris Zambarloukos and editors George Cragg and Martina Zamolo leading the creative technical team. The film was commissioned by VP Unscripted Content for Disney+ EMEA, Sean Doyle.

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Peter Antoniou Tour Dates For 2027 Announced (EXCLUSIVE)

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20 minutes ago

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September 28, 2026

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EXCLUSIVE: British comedian and mind reader Peter Antoniou has announced a big set of tour dates for 2027.

From a childhood fascination with a tarot deck to performing for audiences around the world, Antoniou has built a career around turning the impossible into unforgettable theatre. His live performances combine comedy and audience interaction with moments of mind reading that leave crowds feeling as though they’ve stepped inside an episode of The Twilight Zone. No two performances are alike as Antoniou relies on the audience’s thoughts and secrets to craft the show.

Fresh off his nationwide Pretty Psychic tour, Antoniou’s new show, Peter Antoniou: Brain Teaser, pushes the experience further than ever before.

“This show is bigger, bolder, and more ambitious than anything I’ve done,” he says. “The only missing piece is your brain.”

Tickets will be available beginning with the Citi Presale on Tuesday, September 29 at 10 a.m. local time, running through Thursday, October 1 at 11:59 p.m. local time. They’ll go on sale to the general public on Friday, October 2 at 10 a.m. local.

Antoniou developed his craft through years of study with practitioners ranging from tarot readers and psychics to hypnotists, magicians, and psychologists. He’s repped by Val Sloot at Gersh and Brillstein Entertainment Partners. View his list of tour dates below.

PETER ANTONIOU: BRAIN TEASER 2027 TOUR:
Thu, Jan 14 Napa, CA at Uptown Theatre*
Fri, Jan 15 Monterey, CA at Golden State Theatre*
Sat, Jan 16 SLO, CA at Fremont Theater*
Sun, Jan 17 Ventura, CA at Ventura Music Hall*
Wed, Jan 20 Norfolk, VA at Attucks Theatre
Thu, Jan 21 Durham, NC at Carolina Theatre of Durham/Fletcher Hall
Fri, Jan 22 Charlotte, NC at The Fillmore Charlotte
Sat, Jan 23 Atlanta, GA at Buckhead Theatre
Sun, Jan 24 Lexington, KY at Lexington Opera House
Thu, Jan 28 Silver Spring, MD at The Fillmore Silver Spring
Fri, Jan 29 New York, NY at The Gramercy Theatre
Sat, Jan 30 Mckees Rocks, PA at Roxian Theatre Presented by Citizens
Sun, Jan 31 Philadelphia, PA at The Fillmore Philadelphia
Tue, Feb 2 Exeter, UK at Phoenix
Wed, Feb 3 Cardiff, UK at Glee
Thu, Feb 4 Bath, UK at Komedia
Fri, Feb 5 London, UK at Leicester Square Theatre
Sun, Feb 7 Bristol, UK at Hen and Chicken
Mon, Feb 8 Cambridge, UK at Junction
Tue, Feb 9 Leicester, UK at Y Theatre
Wed, Feb 10 Sheffield, UK at Leadmill
Thu, Feb 11 Liverpool, UK at Hot Water
Fri, Feb 12 Belfast, UK at Limelight
Sat, Feb 13 Dublin, IE at Ambassador
Sun, Feb 14 Manchester, UK at New Century Hall
Tue, Feb 16 Newcastle, UK at Stand
Wed, Feb 17 Edinburgh, UK at Monkey Barrell
Thu, Feb 18 Glasgow, UK at Glee
Sun, Feb 21 Vancouver, BC at The Chan Centre*
Thu, Feb 25 Denver, CO at Paramount Theatre
Fri, Feb 26 Minneapolis, MN at The Fillmore Minneapolis
Sat, Feb 27 Salt Lake City, UT at The Depot
Thu, Mar 11 Spokane, WA at Bing Crosby Theatre
Fri, Mar 12 Seattle, WA at The Neptune Theatre
Sat, Mar 13 Salem, OR at Historic Elsinore Theatre
Sun, Mar 14 Boise, ID at Egyptian Theatre
Thu, Mar 18 Tucson, AZ at Rialto Theatre
Fri, Mar 19 Phoenix, AZ at The Van Buren
Sat, Mar 20 San Diego, CA at Observatory SD
Thu, Apr 1 Anaheim, CA at The Grove of Anaheim
Fri, Apr 2 Los Angeles, CA at Wilshire Ebell Theatre
Sat, Apr 3 San Francisco, CA at Palace of Fine Arts
Fri, Apr 9 Tampa, FL at Tampa Theatre
Sat, Apr 10 Ft. Lauderdale, FL at Wells Hall at The Parker
Sat, May 1 Lancaster, CA at Lancaster PAC*
Thu, May 6 Dallas, TX at House of Blues
Fri, May 7 Houston, TX at House of Blues
Sat, May 8 San Antonio, TX at The Aztec Theatre

*Not a Live Nation show

This story originated as part of Deadline’s Comedy Means Business newsletter. Sign up here.

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Boyzone Live Concert Coming To Sky From Curious Films

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1 hour ago

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September 28, 2026

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EXCLUSIVE: A Toxic Love Story producer Curious Films is moving into the live space with a new Boyzone concert film following the smash success of its Sky doc.

Last year, Boyzone: No Matter What became Sky’s most-watched unscripted series of all time and was the catalyst for the Irish superstars getting back together. Curious Films has subsequently produced a fourth and fifth episode showing Ronan Keating and co reforming and we can reveal has also recorded the band’s live concert from the Emirates Stadium, London, which took place over the summer and will air later this year on Sky.

The Boyzone: One for the Road live one-off is a first for a UK documentaries indie that has spent the past few years nurturing a reputation for making big true crime and pop culture hits for the streamers including Netflix’s A Toxic Love Story, and Hulu’s Welcome to the Family and Caroline Flack: Search for the Truth.

Curious boss Dov Freedman said the decision to make the live show “came quite late in the day” and involved a much faster turnaround than the London-headquartered outfit is used to.

“[The live show] was a refreshing addition to the retrospective work we do,” said Freedman. “We can spend 18 months or two years making crime documentaries, whereas the concert film had a much faster turnaround. It involved a different dynamic, different producers and different skills. We had around 40 staff working on it and shot it with about 25 cameras. It looked fantastic, and we’re definitely looking to do more in that space.”

Curious’ timing is good as the streamers double down on live content mainly in areas like music and sport. Netflix UK recently forged a commissioning team dedicated to live.

Curious’ “knew we had something” when it started filming the first Boyzone doc and the “pain close to the surface” from the band members became clear, Freedman said.

Things got even clearer when the band’s former manager Louis Walsh was interviewed and “they all had different perspectives on the same story.” Walsh has described claims made by band members in the doc as “fiction rather than fact.”

“The first time we got in a room with the band, we sensed that we were onto something,” said Freedman. “They were all going to be very honest, which felt refreshing.”

“Outsider perspective”

Curious is keen to do more live but will continue to mainly do what it does best, Freedman said, focusing on true crime and popular culture. It recently entered a new era following the departure of Freedman’s co-founder Charlie Russell, who has been replaced by the promoted MD Nicky Varley, someone who Freedman said has “played an important role in building our relationships with Hulu, Netflix and National Geographic.”

Curious’ approach in part over recent years has been to examine “big American ‘ripped from the headlines’ stories” and deliver them with “craft,” Freedman said. He reckons British docmakers have a particular sensibility, which suits this approach.

“We always saw America as a good opportunity,” he added. “This isn’t new – companies that came before Curious have been doing it much longer – but we believed our Britishness and outsider status could help us get access to stories that U.S. producers might not be able to access in quite the same way. That outsider perspective can also give us a different approach to telling the stories.”

Shows may have aired in the past about the subjects of Welcome to the Family or A Toxic Love Story, but Freedman questioned whether they were “made too quickly or reacted to events too soon.” “When we take on a story, we try to tell the definitive version,” he added. “That’s often about timing.”

In the case of these two shows it paid off.

Following a jaw-dropping revenge plot involving a newly-married U.S. Marshal and his ex-girlfriend, A Toxic Love Story has hit numerous Netflix top 10s since launching over the summer. Welcome to the Family, which tells of the brutal murder of law professor Dan Markel, has spent days as Disney+’s no. 1 show in both the U.S. and UK.

“If you look across Curious’s slate over the last couple of years we’ve been able to deliver large audiences at a time when audiences are fragmented and competition for viewers has never been higher,” said Freedman.

He said Welcome to the Family has kept the “very good” Hulu scripted series Furious off the top spot for a while now. “If you compare the cost of Welcome to the Family with the cost of a scripted series such as Furious, I think streamers and buyers are looking closely at the audiences that true-crime stories can bring,” he added.

Curious wants to double down in America and Freedman speaks with Deadline from L.A., which he will visit three to four times per year and says is “really starting to pay off.”

In the offing is another Netflix true crime series for early next year, which Freedman is keeping mum about, and a show about a “story I’ve always liked that people know, but they only know one side of it,” he added, intriguingly.

Freedman’s view on the docs commissioning landscape more generally is “mixed.”

On the one hand, “it’s harder than ever to get greenlights, competition is intense for stories that everyone knows are working, and buyers are making fewer bets each year.”

On the other, “documentaries have never been more popular or attracted such large audiences.”

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